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THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 


The  John  J.  and  Hanna  M.  McManus 

Morris  N.  and  Chesley  V.  Young 

Collection 


"79-3 


I 


[4  4 


yiurUuX 


SEALED   MYSTERIES 


Explaining'  the  Latest  Card 
Mysteries  and  Spirit  TricKs 
made  Public  for  the  First 
Time,  with  Directions  for 
constructing    TricK    Cards 


BY 


Illustrated 
By  Original  Engraving's  in  Line  and  Half-tone 


maste:r   technic   publishing   CO. 


TO  THE  FRATERNITY 


ej8 


V/[(30UR  attention  is  directed  to  the  fact  that 
*  %  the  BURLING  HULL  PUBLICATIONS 
^'^  are  not  supplied  to  book  stores  or  agencies 
nor  any  medium  through  which  they  may  reach  the 
outside  public. 

These  limited  publications  are  restricted  to  sale 
through  the  recognized  magical  depots  of  America 
and   Europe. 

As  the  contents  never  reach  the  general  public 
the  value  of  the  material   is  doubly   enhanced. 


GIFT 


Copyright,    191  1,  by 
The   Burling  Hull  Magical  Studio 


INTRODUCTORY 


^T^  He  recent  tendency  toward  Impromptu  Magic  is  due  largel}'  to 
\^  tlie  increased  opportunities  for  social  intercourse,  supplied  by 
the  numerous  Magical  Societies,  at  which  magicians  are  wont  to 
gather  for  the  purpose  of  amusing  and  amazing  one  another,  with 
feats  in  the  higher  form  of  Magic  that  appear  inexplicable  even  by 
the  known  principles  of  Illusion. 

The  poularity  of  such  off-hand  Wizardry  is  fostered  by  the  pro- 
fessional, who  is  invariably  called  upon  to  offer  an  example  of  his 
ability  so  soon  as  liis  i)rofession  is  known,  and  if  forced  to  explain 
that  he  is  witliout  apparatus  at  hand  he  is  looked  ui)()n  as  a  poor  sort 
of  Magician,  who  cannot  perform  without  mechanical  apparatus.  He 
is  therefore  stimulated  to  keep  at  hand,  at  least  one  or  two  impromptu 
mysteries. 

Of  late  years  many  followers  of  professional  callings,  such  as 
Law,  Medicine,  Politics,  Science,  Banking,  and  a  surprising  number 
of  the  Ministry,  have  taken  up  the  Art  of  Magic,  realizing  its  value 
as  a  mental  recreation  aside  from  its  fascinating  entertaining  quali- 
ties. Salesmen  and  traveling  men  find  it  a  material  aid  to  business. 
All  these,  prefer  magical  effects  of  a  seemingly  impromptu  nature. 

In  this  volume,  the  first  publication  devoted  to  the  higher  form 
(;f  impromptu  magic,  the  author  and  editor  have  endeavored  to  select 
only  the  finest  and  most  subtle  of  the  many  tricks  of  this  nature,  of 
recent  invention,  which  have  never  before  appeared  in  print. 

The  author,  Mr.  Burling  Hull,  who  needs  little  if  any  introduction 
to  magical  students,  owns  the  largest  collection  of  card  tricks  in  ex- 
istence, beside  which,  he  has  invented  a  series  of  over  thirty  tricks 
with  Special  and  Mechanical  cards,  as  well  as  numerous  tricks  in  sleight 
of  hand,  with  cards  and  other  objects,  entirely  aside  from  his  work  in 
the  line  of  mechanical  and  stage  apparatus.  This  alone  renders  him 
better  able  to  speak  authoritatively  on  the  subject,  than  probably  any- 
one else,  while  his  experience  as  the  leading  magical  instructor  of  the 
East,  enables  him  to  deal  with  the  subject  in  a  manner  which  is  most 
readily  comprehensive  to  the  magical  student.  Always  original,  Mr. 
Hull  has  added  to  the  various  experiments  much  that  will  improve 
them,  as  well  as  suggestions  for  the  alteration  and  improved  con- 
struction of  the  majority. 

Care  has  been  taken  to  place  the  credit  for  the  various  inventions 
where  it  is  due,  a  feature  which  is  sadly  neglected  by  so  many  present 
dav  writers. 

SYLVESTER  S.  WALTERS,  Editor. 
New  York. 

096 


THE     GOBLIN     ACES. 

One  of  the  most  effective  card  tricks  for  close  work  is  a  varia- 
tion of  the  "Four  Ace  Trick"  known  under  the  above  title.  It  is  a 
trick  which  I  strongly  recommend  the  reader  to  construct  and  work. 
It  will  go  well  in  club  work  also. 

Effect : — Performer  removes  the  four  Aces  from  the  pack  and 
places  them  face  up  in  a  row,  with  a  space  of  about  four  inches  be- 
tween each  card.  He  then  deals  one  card  (from  the  pack)  face  down 
on  each  Ace.  This  operation  is  twice  repeated  so  that  there  are  three 
indift"erent  cards  face  down  on  top  of  each  Ace.  The  performer  in- 
troduces a  pair  of  dice  and  asks  a  spectator  to  select  one.  The  specta- 
tor makes  his  choice  and  is  invited  to  throw  same  several  times.  This 
he  does  wfth  the  result  that  several  different  numbers  are  thrown, 
thereby  proving  that  the  dice  is  not  "loaded"  to  throw  any  particular 
number. 

The  spectator  is  now  asked  to  toss  the  die  to  determine  which 
of  the  four  piles  of  cards  are  to  be  used.  Whatever  number  is 
thrown,  the  performer  selects  that  pile  and  asks  spectator  to  place 
it  in  his  breast  pocket.  Performer  returns  the  remaining  cards  to 
the  pack  and  handing  it  to  spectator  asks  him  to  blow  upon  the  pack. 
As  he  does  so,  performer  interrupts  him  in  an  excited  manner  with 
the  exclamation,  "Stop!  Not  so  hard  or  you  will  blow  all  the  Aces 
out  of  the  pack.  Just  as  I  feared,  you  see  they  have  left  the  pack." 
Running  the  cards  from  hand  to  hand  or  spreading  them  out  on  table 
the  Aces  are  nowhere  to  be  seen.  Performer  requests  spectator  to 
remove  the  four  cards  from  his  pocket  and  to  his  surprise  finds  that 
he  holds  the  four  missing  Aces. 

A  most  eft'ective  trick  for  drawing  room  work  it  is  also  well 
adapted  for  platform  and  clul)  work. 

It  can  be  used  to  advantage  in  any  program  as  it  is  distinctly 
novel  and  awav  from  the  usual  card  tricks  in  its  effect. 

Secret : — Three  additional  Aces  are  required,  and  on  the  backs  of 
these  are  pasted  three  indift'erent  cards  face  outward.  The  four  un- 
prepared Aces  are  also  used. 

Place  the  three  prepared  Aces  which  we  will  say  are  of  the 
Spades,  Clubs  and  Diamonds  Suits  and  one  unprepared  Ace,  sav  Ace 
of  Hearts,  in  various  parts  of  pack,  but  not  within  twelve  cards  of  the 
top  of  pack. 

Arrange  the  remaining  unprepared  Aces  as  follows :  One  Ace 
the  third  card  from  top,  a  second  Ace  the  seventh  card  from  top,  and 
the  remaining  Ace  the  eleventh  card  from  top  of  pack. 

Operation  : — Holding  pack  face  up  remove  the  Aces  first  men- 
tioned (three  prepared  and  one  unprepared)  and  lay  on  table,  or  if 
working  from  platform  stand  cards  upright  against  some  object  or  as 
I  prefer  set  in  separate  goblets,  face  toward  audience  in  following 
order : 

|A|  |B|  |C|  IDI 

PREPARED       PREPARED      UNPREPARED      PREPARED 

The  pack  is  now  turned  over  and  from  the  top  of  the  pack  one 
card  at  a  time  is  dealt  face  down  on  each  Ace  (see  description  above) 
starting-  at  A.  which  causes  the  four  Aces  to  come  together  at  C. 

4 


The  dice  which  are  offered  to  spectator  are  both  prepared  so  that 
the  four  spot  and  one  spot  faces  cannot  come  upward.  This  is  accom- 
plished by]  adding-  one  spot  to  the  four  spot  face  and  two  spots  to 
the  one  spot  face  changing-  them  to  five  and  three  spot  faces  respec- 
tively. 

No  matter  what  numljer  is  thrown  it  is  made  to  indicate  the  pile 
of  unprepared  Aces  in  the  following  manner :  If  Two  is  thrown 
begin  at  right  counting  D  as  One  and  C  as  Two.  If  Three  is  thrown 
start  at  left  and  vou  will  arrive  at  C.  If  five  is  thrown  count  from 
A  to  D  and  as  you  cannot  go  beyond  D  you  continue  counting  in 
the  opposite  direction  which  brings  you  again  to  C  at  Five.  For  Six 
you  count  from  D  toward  x\  and  returning  arrive  at  C 

This  selected  (  ?)  pile  is  placed  in  spectators  pocket  and  the  re- 
maining piles  gathered  and  place  on  the  pack  which  is  then  cut  to 
bring  these  cards  near  center.  The  trick  proceeds  as  described  and 
when  the  pack  is  exhibited,  the  trick  "Aces"  being  faced  in  opposite 
direction,  only  the  spot  faces  can  be  seen  proving  their  evanishment. 

Improvements : — Little  improvements  which  ha\-e  been  added  are 
in  the  arrangement  of  the  Aces  at  third,  seventh  and  eleventh  position 
which  enables  the  cards  to  be  dealt  as  in  card  games  instead  of  three 
at  a  time  as  previously  used.  This  little  improvement  adds  consid- 
erably to  the  effect. 

Another  is  in  employing  two  dice.  If  a  single  dice  is  introduced 
it  is  subjected  to  some  suspicion.  By  throwing  two  dice  on  table 
and  requesting  spectator  to  throw  same  several  times  as  a  test,  the 
variety  of  numbers  thrown  will  quickly  eliminate  suspicion  from  the 
dice. 

Construction  : — Procure  three  additional  Aces  and  soak  these  in 
warm  water  for  three  hours.  Then  peel  the  thin  layer  of  paper  which 
has  the  Ace  faces  from  the  cards.  Press  between  sheets  of  blotting 
paper  to  remove  surplus  moisture  and  coat  the  backs  with  thin 
mucilage.  Place  these  on  backs  of  ordinary  spot  cards  and  press  with 
a  hot  iron  till  dry. 

To  prepare  dice :  Drill  a  small  hole  in  the  center  of  the  four 
spot  face  of  die  and  two  holes  in  the  one  spot  face.  Paint  these  with 
a  little  black  enamel.  Accurately  constructed  dice  for  this  trick  can 
be  obtained  from  most  magical  firms. 

WARRINGS     CARD     PRINCIPLE. 

Effect : — A  card  or  cards  removed  from  pack  by  spectators  are 
replaced  in  pack  in  much  the  same  manner  as  when  it  is  intended 
to  employ  the  pass  except  that  no  pass  is  made.  The  cards  are  then 
cut  several  times  for  the  purpose  of  losing  the  location  of  the  card  or 
cards  selected.  At  any  time  the  performer  may  secure  possession 
of  the  selected  cards. 

One  of  the  cards  may  l)e  returned  to  pack  and  pack  cut  several 
times  before  the  next  card  is  placed  in  pack  yet  the  cards  may  be 
brought  together  at  conclusion  of  trick. 

Secret: — One  of  the  cards  is  split  at  one  end  and  a  small  slip  of 
wood  is  inserted  so  that  it  projects  about  yi  inch  beyond  edge  of 
card,  the  separation  in  card  being  then  closed  and  secured  with  a 
little  glue,  (See  Fig.  2).  The  card  thus  prepared  is  returned  to  pack 
near  center. 
5 


Fig.  2 

Operation  : — The  pack  may  be  first  shuffled  if  desired.  A  card  is 
selected,  pack  is  held  in  left  hand  so  the  clip  projects  on  side  nearest 
the  performer.  Performer  places  right  hand  over  pack  with  fingers 
touching-  front  edge  and  thumb  against  the  little  projection  of  the 
prepared  card,  and  lifting  same  up.  he  cuts  the  pack  at  this  point 
having  spectator  return  card.  Several  cards  may  be  returned  one  at 
a  time  with  a  number  of  genuine  cuts  being  made  between  the  return 
of  each  card  but  each  time  the  pack  is  cut  for  a  card  to  be  returned 
the  cut  is  made  at  the  same  point  by  means  of  the  little  clip  or  pro- 
jection. Several  cuts  may  be  made  by  spectators  if  desired  but  this 
requires  care  in  handlings  so  that  they  take  hold  of  cards  crosswise 
and  not  lengthwise.  The  final  cut  is  made  by  the  performer  and  is 
made  by  means  of  clip  so  that  all  the  cards  are  lifted  off  the  selected 
cards  and  when  pack  is  then  squared  up  the  selected  cards  are  on 
the  top   of  pack  within  easy  control  of  performer  to  produce  as  desired. 

SATAN'S  SECRET. 

This  trick  is  an  improvement  on  the  foregoing  trick  which  enables 
the  spectator  to  supply  his  own  pack  of  cards  with  the  same  results. 
This  is  in  the  form  of  a  small  metal  clip  which  may  be  attached  to 
any  card  in  a  few  seconds  and  removed  and  secreted  at  the  conclu- 
sion of  the  trick. 

The  idea  was  introduced  by  M.  D.  Leroy  the  Boston  Magical 
Dealer,  and  Mr.  Leroy  adds  an  effect  of  his  own  which  employs  three 
envelopes  in  a  novel  manner. 

However  a  more  perplexing  series  of  effects  may  be  accomplished 
by  the  system  hereafter  described  with  the  advantages  that  the  cards 
may  be  operated  immediately  upon  taking  them  from  the  audience 
without  any  fumbling  or  delay  as  required  in  attaching  a  clip  and 
also  in  that  the  cards  in  most  instances  may  be  shuffled. 


"NOVEL     CARD     DISCOVERY." 

The  credit  for  the  origination  of  the  principle  of  converting  any 
pack  into  a  "Stripper"  pack  or  Long  and  Short  pack  and  the  eft'ects  de- 
signed involving  this  idea  I  must  take  to  myself.  The  trick  will  be 
found  advertised  in  Sphinx  for  March,  April  and  later  issues  for  the 
year  1908. 

As  evidence  of  the  effectiveness  of  one  of  the  tricks  possible 
with  this  idea,  a  clipping  from  the  Brooklyn  Eagle  is  inserted  in 
abridged  form  below. 

"Most  convincing  of  all  however  was  a  little  feat  performed  by 
way  of  diversion  at  the  end  of  our  impromptu  "Seance"  and  though 


it  held  no  spectacular  features  yet  this  very  simplicity  made  it  appear 
more  uncanny  than  even  the  "Slate  Experiments." 

"Mr.  Burling--Hull  called  for  the  pack  of  cards  which  your  cor- 
respondent had  brought  with  him.  Taking  a  position  on  the  oppo- 
site side  of  the  little  glass  top  table  this  modern  Yogi  had  the  writer 
shuffle  the  pack  and  remove  one  of  the  cards.  During  these  opera- 
tions Mr.  Burling-Hull  never  once  glanced  toward  the  writer  but 
seemed  totally  occupied  in  toying  with  a  small  skull  setting  on  a 
taboret  at  his  right.  At  this  point  he  turned  and  taking  the  pack  of 
cards  between  the  extreme  tips  of  his  thumb  and  finger  placed  them 
over  the  mouth  of  a  glass  goblet  which  he  had  previously  used  for 
the  little  slips  of  paper.  He  then  asked  that  after  thoroughly  memo- 
rizing the  selected  card,  it  be  placed  on  top  of  the  pack  of  cards,  and 
the  pack  "Cut"  once  or  twice  to  mix  the  cards.  Taking  the  cards  he 
settled  the  cards  into  an  even  pack  with  elaborate  slowness  using  only 
the  finger  tips,  and  asked  that  the  cards  be  again  shuffled.  This  done 
he  again  took  the  cards  and  dealt  them  face  down  on  the  table  ver}' 
rapidly  then  gathered  them  up  and  began  again  asking  the  writer 
'  to  keep  the  card  fixed  in  his  mind. 

While  dealing  the  cards  his  eyes  were  fixed  upon  the  ceiling, 
suddenly  he  stopped  and  snapped  out  "Seven  of  Diamonds,  Don't 
deny  it !" 

Your  correspondent  had  no  intention  of  denying  anything  but  a 
little  startled  by  the  sharp  tone  of  voice  managed  to  mumble  a  quick 
affirmative.  Without  looking  at  the  cards  our  20  Century  Mahatma 
turned  over  one  of  them  which  proved  to  be  the  selected 
"Seven  of  Diamonds." 

The  foregoing  descri])tion  is  thoroughly  accurate  and  illustrates 
the  possibilities  of  the  jirinciple  applied  in  the  form  of  an  individual 
trick  for  impromptu  ]:»resentation.  Below  are  ofifered  two  method^ 
of  applying  the  idea  in  combination  with  any  card  trick  in  which 
selected  cards  are  to  be  used,  the  novel  principle  furnishing  the  means 
of  securing  the  selected  cards  after  they  have  been  lost  sight  of  in  the 
pack — ^the  method  of  using  these  cards  being  left  to  the  performer. 

Before  a  critical  audience  at  close  quarters  it  is  frequently  desir- 
able to  emplov  an  unfamiliar  method  of  securing  possession  of  selected 
cards  especially  when  members  of  the  company  are  acquainted  with 
the  orthodox  methods. 

Efifect  One : — A  borrowed  pack  of  cards  is  thoroughly  shuffled  and 
two  cards  selected  by  spectators.  The  two  cards  are  placed  on  top  of 
pack,  the  pack  cut  bringing  the  cards  to  the  center  of  the  pack  and  the 
pack  shuffled. 

The  performer  can  instantly  produce  the  cards  from  the  pack  yet 
he  has  no  idea  as  to  the  location  of  the  selected  cards  nor  is  he  ac- 
quainted with  the  suit  or  denomination  of  the  cards  previous  to  their 
production. 

Effect  Two : — Several  cards  are  selected  from  a  borrowed  pack 
of  cards.  Cards  are  returned  to  pack  and  ]:)ack  shuffled  by  spectator. 
The  performer  simply  ruffles  the  pack  between  his  fingers  and  in- 
stantly  locates  and  secures  the   selected  cards. 

Secret  One: — Place  a  pellet  of  conjuror's  wax  on  the  right  thumb- 
nail.    Borrow  any  pack  and  allow  two  cards  to  be  selected,  preferably 

■7  '  ■" 


• 


by  two  spectators  seated  some  distance  apart.  Have  one  card  placed 
on  top  of  pack  and  while  walking  toward  second  party  smear  some 
of  the  wax  from  the  thumb  nail  on  the  back  of  the  card.  Take  the 
second  card  and  place  it  on  top  of  the  first  card  moving  it  so  it  laps 
over  edge  at  one  end  (See  Fig.  3).  After  shuffling  cards  take  pack 
by  one  end,  run  fingers  along  edge  and  the  selected  cards  being  wider 
than  the  rest  of  pack  will  he  drawn  out  of  pack  as  in  "Stripper" 
cards,  or  wide  and  narrow  cards. 

Secret  Two: — In  this  case  the  card  above  or  below  the  selected 
card,  is  waxed  just  before  card  is  returned  to  pack  in  each  case.  It 
is  then  only  necessary  to  press  the  pack  together  so  cards  will  adhere 
and  hand  to  be  shuffled.  See  that  cards  are  shuffled  in  old  fashioned 
side  shuffle  and  not  the  dove-tail  shuffle  as  the  latter  might  separate 
cards.  Give  as  your  excuse  for  prefering  the  side  shuffle,  that  the 
dove-tail  shuffle  destroys  the  spring  of  the  cards. 

Step  back  some  distance  from  your  audience  after  pack  is  returned 
to  yetu  and  ruffie  the  cards  very  slowly  and  you  will  hear  a  sharp 
snap  Avhen  you  reach  the  selected  card  or  cards,  which  is  due  to  the 
sudden  separation  of  the  cards  which  were  stuck  together.  Cut  the 
pack  at  this  i)oint  placing  the  lower  half  on  top  and  you  have  one  of 
the  selected  cards  on  the  top  of  the  pack  and  one  card  on  the  bottom 
of  the  pack.  To  cover  the  snap  of  the  cards  make  a  few  sharp  re- 
marks while  ruffling  cards. 


Tmg.  3 

For  those  who  might  may  be  interested  in  the  trick  described  at 
the  head  of  these  descriptions  I  will  explain  the  operation. 

In  toying  with  the  skull  on  the  taboret  I  secured  a  little  piece 
of  "conjuror's  wax"  which  was  concealed  there  and  flattened  it  into 
a  tablet  or  wafer  on  the  tip  of  my  right  forefinger.  In  taking  the 
pack  from  the  press  interviewer.  I  did  so  between  thumb  and  finger 
with  finger  underneath  which  pressed  the  wax  on  the  bottom  card 
face.  I  placed  the  pack  on  the  mouth  of  the  goblet  presumably  to  elim- 
inate suspicion  but  actually  to  prevent  the  wax  from  coming  in  con- 
tact with  the  table  or  anything  to  which  it  might  adhere.  When  the 
selected  card  was  placed  on  the  top  of  the  pack  and  the  pack  cut  the 
waxed  card  was  brought  directly  over  the  selected  card,  where-upon 
I  immedately  took  the  pack  and  evened  up  the  edges  and  pressed  the 
pack  to  secure  the  two  waxed  cards.  The  pack  was  then  shuffled  by 
the  newspaper  man  and  returned  to  me.  I  began  dealing  the  cards 
upon  the  table  till  I  felt  the  two  cards  which  were  secured  together 
which  I  could  easily  tell  by  the  weight.  I  continued  dealing  three 
more  cards  then  stopped  and  gathered  the  cards  up  and  at  the  same 
time  took  care  to  get  sight  of  the  selected  card  which  I  noted  to  be 
the  Seven  of  Diamonds.    I  then  dealt  the  cards  again   on  table  face 

8 


down  as  before  kee])ino;-  my  eyes  turned  upward  till  I  again  reached 
the  card  when  1  announced  the  name  of  the  card  and  on  being  as- 
sured it  was  correct,  turned  over  the  doul^le  card.  While  talking  I 
gathered  up  the  cards,  separating  the  double  cards  and  scraped  the 
wax  off  the  faces. 

THE     MONTE     CRISTO     CARDS. 

Tliis  ingenious  little  novelty  is  the  idea  of  Henrv  Hardin.  Un- 
fortunatel}-  the  trick  is  so  short,  can  only  be  performed  once  and  re- 
quires such  care  in  handling  that  it  is  very  inconvenient  to  handle 
especially  as  the  pack  must  be  discarded  after  one  selection  of  the  card. 

Effect : — A  ])ack  of  cards  is  introduced  and  \o  demonstrate  that 
it  is  a  bona  hde  pack  it  is  ruffled  with  the  face  of  the  cards  toward 
audience.  A  spectator  is  then  requested  to  raise  one  end  of  the  pack 
and  glance  at  a  card.  The  performer  is  at  liberty  to  announce  the 
name,  as  the  card,  regardless  of  contrary  appearances,  w^as  forced. 

Secret : — The  pack  is  composed  of  40  cards  (no  picture  cards  being 
included  because  of  the  expense  of  printing  the  additional  color 
plates)  thirty-eight  of  which  are  all  Five  of  Diamonds  on  one  half  of 
their  faces  and  indifferent  cards  on  the  other  end.  One  full  faced 
indifferent  card  is  placed  on  the  face  of  ])ack  as  a  blind,  and 
one  full  faced  Five  of  Diamonds  within  the  pack.  \Mien  exhibiting 
the  cards  only  the  indifferent  end  of  the  cards  are  exposed  but  in 
off'ering  pack  toward  audience  the  ends  are  re\-ersed  so  that  the  forc- 
ing end  of  the  cards  onlv  can  be  raised.  Therefore  the  Five  of 
Diamonds  is  invariably  f(^rced  u])on  the  spectator. 


Fig.  4 

In  the  ad\ertisements  it  was  claimed  that  the  pack  could  be  tossed 
among  the  audience  with  the  same  result  but  the  risk  of  spectator 
selecting  the  wrong  end  of  pack  or  of  withdrawing  a  card  or  opening 
the  pack  beyond  the  exact  centre  makes  this  impractical. 

To  overcome  the  principle  disadvantage — that  in  turning  up  an 
end  of  the  pack  the  spectators  finger  is  bound  to  run  over  the  edge 
of  cards  and  slightly  ruffle  cards  sufffciently  to  expose  more  than  one 
of  forcing  faces — I  suggest  the  method  used  in  the  old  method  of 
The  Cards  Mysterious  before  the  Improved  Cards  Mysterious  (Copy- 
right Jan.  l'J09)  was  placed  on  public  sale.  This  method  had  the 
long  cards  as  forcing  cards  and  it  was  necessary  to  turn  up  one  end 
of  the  pack.  To  prevent  the  cards  from  running  past  finger,  have  the 
spectator  insert  a  penknife  in  pack  and  thus  lever  up  the  card  so 
designated  wdiich  prevents  more  than  one  card  being  seen  and  acts  as 
a  safeguard  from  the  possibility  of  a  card  being  withdrawn. 

9 


In  the  case  of  the  Cards  Mysterious  the  card  may  be  removed 
and  inspected  as  well  as  the  full  face  of  the  cards  above  and  below 
the  selected  card,  no  false  cards  being  used.  The  trick  in  this  case 
may  be  repeated,  forcing  a  different  card. 

SUBSTITUTE     FOR     PASS. 

This  clever  idea  can  be  employed  in  place  of  the  pass  with  con- 
siderable effect.  Several  cards  selected  from,  and  returned  to  the  pack 
are  shuffled  in  a  manner  which  leaves  no  question  of  the  fairness  of 
the  operation,  yet  performer  can  at  any  moment  produce  the  selected 
cards. 

Secret  and  Operation :— Secure  some  of  the  transparent  paper 
"Stamp-hinges"  sold  at  all  stamp  collectors  depots. 

Take  two  of  the  cards  from  the  pack  you  are  about  to  use  (by 
carrying  a  few  hinges  in  your  pocket  any  borrowed  pack  can  be  made 
available)  and  placing  them  together  paste  two  of  the  hinges  over 
the  edges  at  one  side  forming  a  sort  of  folio. 

Place  hinges  about  two  inches  apart.  Place  this  arrangement  in 
your  pack  and  after  having  cards  selected,  open  the  pack  sideways  so 
as  to  separate  or  open  the  hinged,  cards  much  as  you  would  open  a 
book,  and  have  cards  placed  between  the  hinged  cards.  Close  pack 
and  give  same  a  thorough  shuffle  yet  you  will  find  your  hinged  cards 
will  keep  the  selected  cards  enclosed  and  undisturl)ed. 

Draw  your  right  thumb  over  the  back  end  of  pack  slightly  ruffling 
same  until  you  strike  an  obstruction  which  will  be  the  hinged  cards. 
Cut  the  pack  at  this  point  l)ringing  cards  to  bottom  and  it  will  be  an 
easy  matter  to  open  the  hinged  cards  and  remove  the  selected  cards. 

N.  B.  The  author  and  editor  are  not  aware  of  the  origin  of  the 
above  trick  which  is  therefore  not  credited  to  the  originator.  The 
trick  in  the  above  form  is  considerably  superior  and  the  method  of 
working  improved  by  the  author  making  it  a  very  practical  trick. 

HOUDIN'S     DREAM     IMPROVED. 

This  trick,  credited  to  Henry  Hardin,  is  little  appreciated  owing 
to  a  few  difficulties  not  overcome  or  provided  for  in  the  original  in- 
struction prepared  by  the  inventor.  The  original  directions  call  for 
a  previous  arrangement  of  the  cards,  which  I  have  eliminated  so  the 
trick  may  now  be  operated  from  beginning  to  end  in  full  sight  of 
audience  and  with  any  pack  the  spectators  supply,  which  pack  is  im- 
mediately used  without  retiring  from  view.  I  may  add  that  with  the 
following  original  method  of  working  the  trick  I  have  mystified  prac- 
tically all  of  the  leading  magicians  I  have  come  in  contact  with,  al- 
though I  know  these  same  parties  are  acquainted  with  the  trick,  which 
conclusively  proves  the  old  rule  that  it  is  "not  what  you  do  but  how 
vou  do  it." 

BURLING-HULL   METHOD. 

Performer  offers  to  attempt  an  experiment  in  Mind  Reading 
and  calls  for  a  jiack  of  the  spectators"  cards.  Remarking  that 
he  finds  certain  cards  fix  themselves  upon  the  subjects  mind 
more  strongly  than  others,  he,  upon  receiving  the  pack  sorts  the 
l)aste  boards  into  three  piles  two  of  which  he  places  together  and  has 
the  spectator  shuffle.  A  card  is  then  selected  and  immediatel}-  re- 
turned to  pack  which  the  spectator  again  shuffles. 

10 


The  performer  has  absohitely  no  idea  as  to  the  location  of  the 
selected  card  nor  does  he  know  the  name  of  the  card.  The  performer 
now  deals  the  cards  slowly  face  upward  upon  the  table  and  simply 
recjuests  the  spectator  to  think  the  word,  "Stop,"  the  moment  he  sees 
the  card.  Performer  glances  at  cards  now  and  then  while  slowly 
dealing-  cards  upon  table  till  the  card  is  reached,  when  he  exclaims 
"Stop  !"  which  coming-  at  the  exact  moment  that  the  spectator  pro- 
nounces the  word  mentally,  is  decidedly  startling  to  the  latter.  The 
performer  anudunces  the  name  of  the  card,  hands  it  to  jiarty  selecting 
it  and  re])eats  the  trick. 


tlG.   5 


Secret: — Inspection  of  a  pack  of  cards  will  show  that  the  cards 
can  be  divided  into  three  classes : — ^Cards  which  have  an  uneven 
number  of  pips  (1,  3,  5,  7,  9,)  and  ha\-e  a  pi])  in  center  that  points 
upward  also  the  6  and  8  which  have  two  central  pips  pointing  upward 
(see  illustration,  note  arrows).  Cards  such  as  picture  cards,  not  pos- 
sessing this  peculiarity  but  which  are  unevenly  printed  so  that  the 
index  is  nearer  one  side  <  ir  edge  of  the  card,  as  in  the  Queens  of  Hearts 
and  Four  of  Spades  in  the  illustration.  Cards  which  have  none  of 
these  peculiarities  or  which  are  at  all  difficult  to  class  at  a  tjuick  glance. 

Of  these  classes  the  first  two  are  used  and  the  last  discarded.  It 
is  necessary  to  arrange  all  the  cards  with  center  and  central  pips  point- 
ing- uoward  and  all  the  narrow  margined  ])icture  cards  with  the  defec- 
tive index  upward  (in  upper  left  hand  corner)  so  that  when  a  card  is  re- 
moved and  the  pack  turned  around  before  the  card  is  returned,  that 
card  when  shuffled  back  into  the  pack  is  easily  distinguished  at  a 
glance,  as  pips  point  in  the  opposite  directiou  or  in  the  case  of  picture 
cards,  the  narrow  space  (between  index  and  edge  of  card)  is  at  the 
opposite  end  from  all  the  other  cards. 

N.  B.  In  the  old  method  it  was  required  to  secure  the  cards  in 
advance  and  arrange  same — also  there  were  so  many  methods  of  find- 
ing the  reversed  card  by  means  of  careful  inspection,  that  it  complicated 
the  trick  too  greatly.  Therefore  I  have  carefully  laid  out  a  logical 
manner  of  presenting  it,  simplifying  the  trick  and  subtlising  the  effect, 
covering  every  difficulty.  I  give  the  manner  of  working  just  as  I  teach 
it  to  my  pupils,  and  ask  the  student  to  carefully  note  the  ruse  by 
which  I  am  enabled  to  operate  the  trick  from  the  moment  I  take  the 
pack  to  the  conclusion  of  the  "experiment",  in  plain  view  of  all  with- 
out suspicion.  Also  to  note  that  I  have  eliminated  the  difficulties 
by  using  only  the  two  best  methods  of  reading  the  cards  and  dis- 
carding the  dif^cult  cards,  as  well  as  furnishing  a  logical  method  of 
concluding  the  trick  so  that  even  the  initiated  are  misled  as  to  the 

11 


means  of  discovering  the  card  (doing  away  with  the  former  plan  of 
inspecting  the  card  in  a  plainly  apparent  manner). 

Operation  : — In  dealing  out  the  cards  under  pretext  of  selecting 
suitable  cards.  I  place  all  those  cards  with  pips  pointing  upward,  in 
one  heap,  all  those  pointing  down  (or  with  narrow  margins  down- 
ward )  in  a  second  heap,  and  all  those  not  suitable  to  use  I  place  in 
a  third  heap. 

To  do  this  I  take  each  card  singly  and  lay  it  on  table  in  the  posi- 
tion I  decide  upon  for  each  class  of  card.  I  then  gather  up  the  last 
mentioned  pile  and  discard  it.  pick  up  the  second  pile  (containing  the 
inverted  cards)  and  while  scjuaring  up  packet  I  turn  it  around,  and 
lay  it  upon  the  first  pile.  I  have  thus  arranged  all  my  cards  in  one 
direction  without  suspicion.  I  have  the  cards  shuffled  and  a  card 
removed.  1  take  pack  and  hold  it  crosswise  before  me  one  end  of 
pack  in  fingers  of  either  hand,  so  that  at  will  I  can  oiler  either  end 
of  pack  to  spectator  by  spreading  cards  with  either  left  or  right  hand. 
I  oiler  him  the  pack  so  that  his  card  will- enter  it  reversed  and  have 
him  shuftle  the  pack  once  more.  I  deal  the  cards  upon  the  table 
spreading  them  well  out  in  a  slow  easy  manner.  I  lay  out  several 
cards  while  not  looking  at  them,  then  glance  at  cards  and  read  three 
at  once,  then  catcli  up  till  I  read  the  one  in  my  hand  and  turn  away, 
which  misleads  the  careful  observer.  If  the  card  should  slip  my  atten- 
tion I  would  gather  them  u]).  calmly  proceed  to  deal  them  out  again 
asking  spectator  to  think  a  little  harder. 

■  The  trick  is  concluded  as  described.  Pick  up  located  card  and 
reverse  it  under  cover  of  exhibiting  it  to  company  and  when  replaced 
your  pack  is  ready  for  a  repetition. 

Additional  note : — A  little  ruse  by  which  I  puzzle  those  who  ask 
me  to  use  all  the  cards.  I  agree  to  do  so  remarking  that  it  is  more 
difficult,  and  place  the  cards  previously  discarded  on  the  rest  of  pack. 
I  then  allow  a  card  to  be  selected  from  the  top  (third  class  cards)  and 
force  party  to  return  it  among  the  arranged  cards.  I  then  turn  pack 
over  and  proceed  to  locate  card  which  is  quite  easy  as  it  will  be 
the  only  card  which  has  no  center  pips  (  such  as  10 — i — 2 — or  one 
of  the  Diamond  Suit)  or  a  picture  card  with  perfectly  even  indexes. 

THE     THAYER     CARD     RISING     TRAY. 

The  latest  attempt  to  simplify  the  Rising  Card  Trick  and  enable 
the  performer  to  eliminate  the  concealed  assistant  as  well  as  to  render 
the  trick  more  certain  by  placing  it  under  his  direct  control,  is  the 
Card  Tray  designed  by  F.  G.  Thayer,  a  gentleman,  whose  work  in 
Magical  Woodcraft  has  earned  him  considerable  re])utation. 

This  is  in  the  form  of  a  neatly  turned  and  polished  wood  trav 
some  10  inches  in  diameter,  the  corner  slightly  sunk  and  covered  with 
cloth. 

The  necessary  threaded  cards  are  placed  just  back  of  the  edo;e  of 
the  tray,  the  thread  leading  over  the  edg-e  and  through  the  cloth  cov- 
ered center  of  tray  and  winds  around  a  drum  shaped  s])indle  concealed 
in  the  interior  of  the  tray.  With  the  tray  in  place  on  table  or  stand, 
the  trick  proceeds  in  the  usual  manner  and  in  bringing  forward  the 
tray  the  hand  which  holds  the  regular  pack  of  cards  takes  the  back 

12 


edge  of  the  tray  and  secretly  gathers  the  threaded  cards  onto  the 
back  of  the  regular  pack. 

A  goblet  which  it  is  well  to  have  setting  on  the  tray,  is  exhibited 
and  placed  upon  tray  and  the  cards  within  goblet.  The  performer 
holds  tray  in  one  hand  by  the  edge,  and  one  of  his  fingers  operates 
the  chased  edge  of  the  drum  causing  it  to  revolve  and  wind  up  thread, 
with  the  result  that  the  cards  rise  from  the  goblet  in  the  approved 
manner. 

The  trick  is  an  excellent  investment  for  the  amateur  or  club 
perfcjrmer  who  is  usuall\-  denied  the  advantage  of  a  trained  assistant. 

NEW  CHANGING  SPOT  CARDS. 

Credited  to  Theo.  De  Land,  Jr.  this  card  changes  its  pips  from 
Clubs  to  Spades.  The  trick  is  printed  upon  two  pieces  of  celluloid, 
one  white  and  the  other  transparent.  The  trans]:)arent  celluloid  bears 
half  of  Spade  pi])s  and  Club  pips  at  different  ends  and  the  opacjue 
celluloid  bears  the  missing  parts  of  the  pips  so  that  the  lower  portion 
of  the  Clul)  pips  cover  the  upper  portion  of  the  Spade  pips  when 
in  position.  By  sliding  the  transparent  celluloid  downward  the  posi- 
tion of  the  half  pips  are  transposed  bringing  parts  of  the  opposite  suit 
pips  into  view. 

To  my  mind  the  trick  is  rather  clumsy  as  the  two  pieces  of  cel- 
luloid must  be  picked  up  together  and  held  in  place,  then  covered 
during  the  change  and  then  carefully  laid  aside  to  prevent  exposure. 
The  regular  changing  pip  card  which  may  be  taken  from  pack,  oper- 
ated with  one  hand  and  replaced  in  pack  or  tossed  aside,  is  far  more 
practical  and  also  a])pears  more  like  a  card.  The  new  trick  is  inter- 
esting as  a  novelty  but  I  would  suggest  that  the  face  of  card  be 
printed  on  the  matt  side  of  the  celluloid  to  prevent  the  blurred  print- 
ing which  the  card  now  shows  and  it  will  be  found  that  the  gloss 
will  be  given  by  the  transparent  celluloid. 

THE     PHOTO     SPRITE 

Effect: — An  envelope  is  exhibited  and  a  ])lain  sheet  of  photo- 
graphic printing  paper  (sensitised  gelatine  paper)  is  placed  within 
and  the  envelopes  left  with  a  spectator.  The  spectator  is  now  al- 
lowed to  select  a  card  and  requested  to  place  it  against  the  envelope 
he  holds.  Upon  opening  the  envelope  a  picture  of  the  card  appears 
printed  u])on  the  paper  within. 

Secret: — The  origination  of  the  trick  is  claimed  by  a  New  York 
amateur  magician,  but  like  many  another  ambitious  "Inventor"  fondly 
hoping  to  astonish  the  more  experienced  magicians,  this  gentleman 
was  not  aware  that  his  "Invention"  is  very  well  known  to  magic 
under  the  name  of  Henry  Hardin's  Envelope  Trick.  The  latter  part 
of  the  trick  is  the  same  as  used  scores  of  times,  so  the  trick  has 
just  been  dressed  in  a  new  name  without  the  addition  of  any  improve- 
ment or  original  idea. 

The  enxelope  is  prepared  by  pasting  the  back  part  of  another 
envelope  inside  so  the  mucilaged  flaps  lie  over  each  other  and  a  sheet 
of  pa])er  bearing  a  photo  of  card,  placed  between  the  envelope  backs 
l)efore  securing.  The  card  is  of  course  forced  and  a  duplicate  piece  of 
i:)aper  placed  in  the  front  compartment.     The  trick  proceeds  and  the 

13 


end  of  the  envelope  being-  torn  off,  the  performer  inserts  his  finger 
into  the  back  compartment  and  draws  out  prepared  paper  bearing 
photo. 

THE  SEALED  LETTER  TEST. 

Explanatory : — The  following  is  the  correct  explanation  of  Reading 
of  sealed  writings  described  in  "Behind  the  Scenes  With  Mediums" 
by  David  P.  Abbott  but  of  which  the  author  does  not  expiam  the 
secret  or  operation  stating  that  he  is  under  promise  not  to  reveal  the 
secret.  The  secret  has  been  known  to  the  author  and  editor  of  the 
present  volume  for  some  years  but  to  prevent  error  the  secret  was 
purchased  again  immediately  upon  the  publication  of  Mr.  Abbott's 
book.  Being  under  no  obligation,  the  full  explanation  is  given  here 
for  the  first  time  publicly.  To  make  the  matter  intelligible  to  those 
who  have  read  the  description  of  the  trick  as  Mr.  Abbott  describes  it 
an  extract  of  the  description  is  taken  from  "Behind  Scenes,  etc,"  and 
the  explanation  is  given  in  the  language  of  the  author  Mr.  Abbott. 

Following  this,  is  a  vastly  superior  Letter  Test,  undoubtedly  the 
finest  and  most  practical  and  finished  conception  of  the  kind  in  exis- 
tence, designed  by  Burling  Hull  who  is  known  as  a  creator  of  "Spirit- 
ualistic" effects.  The  trick  was  used  in  a  modified  form  by  Frank 
Cooper,  considered  the  finest  independent  "Mystic"  in  New  York  who 
was  a  close  friend  of  the  inventor,  but  the  trick  as  treated  in  this 
book  is  for  presentation  on  stage,  or  lyceum  platform. — Editor. 

EXTRACTS     "BEHIND     THE     SCENES." 

I  now  step  to  the  writing  desk  and  luring  forward  some  envel- 
opes and  slips  of  paper.  I  hand  an  envelope  and  a  slip  of  paper  to 
the  lady,  asking-  her  to  write  plainly  on  the  slip  of  paper  some  ques- 
tion about  her  future  which  she  would  like  to  have  answered.  I  ask 
her  to  hold  the  paper  in  her  left  hand,  in  such  a  manner  while  writ- 
ing that  neither  the  audience  nor  myself  can  in  any  manner  see. what 
she  is  writino-.  As  she  thus  holds  the  back  of  her  hand  which  con- 
tains  the  paper  towards  us,  it  effectually  conceals  her  writing.  I  pay 
no  attention  to  her  while  writing,  except  an  occasional  glance  to  see 
that  she  complies  with  my  request. 

As  soon  as  she  finishes  writing,  I  request  her  to  fold  the  ])aper 
in  half.  This  she  does.  I  now  request  her  to  fold  it  in  half  the 
other  way  and  when  she  does  so,  I  ask  her  to  place  the  same  in  the 
enveloDe  herself  and  to  seal  it  herself.  When  she  has  all  ready,  I 
direct  her  to  place  it  in  her  own  pocket  and  keep  it  there  until  after 
I  have  read  it.     I  in  no  way  touch  it.    . 

EXPLANATION     OF     THE     EFFECT     DESCRIBED. 

I  will  now  give  the  i)rinciple  and  explanation  of  the  method  used  in 
reading  the  writing  of  Lady  Number  One,  which  1  read  second  but 
which  was  written  first. 

The  principle  in  this  case  is  to  obtain  a  carbon  copy  of  what  she 
writes,  unknown  to  any  one.  It  is  intended  as  an  im]M-ovement  on 
what  is  known  in  the  world  of  magic  as  the  "Anna  Eva  Fay  Pads."  No 
pad  is  used  ;  but  by  a  little  preparation  and  a  neat  little  sleight  that  has 
never  vet  been  noticed,  the  same  result  is  obtained  with  certainty. 

14 


The  secret  lies  in  the  envelope  which  I  first  give  the  lady  with 
the  slip  of  paper,  which  is  prepared  to  receive  a  carbon  impression 
within  it. 

I  will  now  give  the  method  of  preparation  of  this  envelope,  and 
then  I  will  give  the  neat  and  unnoticeable  sleight  by  which  I  obtain 
possession  of  it  after  it  has  received  the  impression. 

I  prepare  some  envelopes  as  follows : — I  use  small,  very  thin 
envelopes.  I  also  use  carbon  paper  of  the  very  finest  grade,  so  that 
the  merest  touch  will  give  an  impression.  I  cut  this  paper  into  pieces 
that  will  just  fit  inside  the  envelopes,  I  then  place  these  pieces  in  the 
envelopes  with  the  carbon  side  towards  the  back  of  the  envelopes.  I 
place  in  the  same  envelopes  back  of  this  carbon  paper,  a  sheet  of  white 
paper  a  trifle  stiff,  such  that  will  readily  take  a  carbon  impression.  I 
now  seal  the  mere  tip  of  the  flaps  of  these  envelopes. 

I  arrange  the  envelopes  as  follows: — I  take  a  thin  sheet  of  paper 
the  same  size  as  an  envelope,  and  place  it  on  top  of  a  prepared  en- 
velope. I  place  under  the  prepared  envelope,  an  envelope  that  is 
not  prepared..  This  makes  a  set.  I  arrange  two  or  three  of  these 
sets,  one  on  top  of  the  other,  and  come  forward  with  them  in  my 
left  hand  like  a  pack  of  cards.  I  also  bring  a  sharp-pointed  hard  lead 
pencil  for  the  lady  to  write  with. 

I  ask  her  to  be  so  kind  as  to  think  of  some  (|uestion  about  her 
future  that  she  would  like  to  have  answered,  and  when  she  has  done 
so  I  say  to  her,  "Here  is  a  slip  of  paper  and  an  envelope."  At  the 
same  time  I  take  off  the  top  or  prepared  envelope  with  the  slip  of  paper 
on  it  in  position,  with  my  right  hand.  I  say  to  her,  "Take  this  in 
your  left  hand  and  hold  it  as  I  show  you,  so  that  no  one  can  see 
what  you  are  writing."  As  I  say  this  I  illustrate  to  her  how  she  is 
to  hold  them,  by  placing  them  in  position  against  the  palm  of  my  left 
hand,  but  holding  them  while  so  doing  with  my  right.  I  now  say, 
"Hold  your  hand  up  this  way,  so  that  none  of  us  can  see  through 
it  and  see  what  you  are  writing."  I  see  to  it  that  she  takes  it  in  the 
proper  position  as  she  begins  to  write.  I  now  say,  "Write  plainly, 
and  when  3-ou  have  finished  double  the  paper  in  halves."  I  appear 
not  to  watch  her  while  writing;  but  in  reality,  I  watch  her  closely 
enough  with  occasional  glances,  to  see  that  she  complies  with  all  the 
conditions.  This  is  where  the  skill  of  the  performer  comes  in.  He 
must  have  had  enough  experience  to  be  certain  of  himself,  and  to 
act  with  perfect  composure  and  self-assurance.  I  always  prefer  a  lady 
of  proper  temperament  for  this,  one  that  will  be  in  earnest  and  try  to 
follow  my  instructions.  I  generally  select  a  married  lady  for  this, 
but  there  is  no  trouble  in  selecting  proper  persons. 

As  the  lady  has  no  idea  of  what  I  intend  doing,  and  as  her  mind 
is  taken  up  with  thinking  of  a  question  to  write  and  also  in  listening 
to  my  instructions  she  naturally  leaves  the  slip  of  paper  on  the  en- 
velope while  writing.  I  have  in  no  way  annoimced  what  is  to  follow, 
so  she  thinks  nothing  of  the  matter  whatever ;  or  else  seems  to  think 
the  envelope  makes  it  easier  for  her  to  write  on  the  thin  slip  of  paper. 
I  have  never  yet  had  one  person  remove  the  slip,  nor  have  I  experi- 
enced the  least  difficulty  in  this  part  of  the  experiment. 

As  soon  as  she  completes  the  writing,  just  as  she  doubles  the 
paper  in  halves,  I  reach  and  take  the  envelope  out  of  her  hand  with 
15 


my  right  hand.  I  say  nothing  about  taking  it,  I  just  merely  take  it 
as  a  matter  of  course.  As  she  does  not  know  what  is  to  be  done  and 
as  she  is  busy  holding  the  paper  and  Listening  to  my  Instructions  as 
to  hoW'  it  must  be  folded,  she  makes  no  objection  to  this;  in  fact  she 
does  not  appear  to  notice  it.  It  would  seem  that  she  unconsciously 
thinks  I  am  helping  her  in  the  matter,  and  that  she  is  centering  her 
attention  on  the  slip  of  paper  which  I  am  careful  to  touch  in  no  way ; 
and  thus  in  a  few  moments  I  doubt  if  she  could  tell  that  I  had  ever 
taken  the  envelope  out  of  her  hand. 

As  I  take  the  envelope  from  her,  I  am  busy  talking  to  her  and 
directing  her  how  to  fold  the  paper  again  and  again  ;  and  this  takes 
all  of  her  attention,  and  also  that  of  an}'  of  the  spectators  who  may 
be  closely  watching  us.  However,  as  a  rule  few  of  the  spectators 
ever  watch  her  closely,  for  the  reason,  that  I  have  announced  that  no 
one  must  see  what  she  writes ;  and  they  naturally  desire  to  help 
keep  the  writing  secret  and  thus  help  the  experiment  along. 

Neither  the  lady  nor  any  of  the  spectators  ever  see  what  I  really 
do.  ^^'hat  I  am  doing  is  this :  while  directing  the  manner  of  folding, 
as  I  take  the  envelope  from  her  I  bring  my  right  hand  back  to  my 
left ;  and  without  pause  of  any  kind  I  leave  the  prepared  envelope 
with  the  impression  in  it  under  the  pack,  carrying  back  m  my  right 
hand  with  the  same  action  the  unprepared  envelope  from  the  top  of 
the  pack.  I  here  use  wliat  is  called  by  magicians  "misdirection."  I 
do  not  look  at  my  hands  at  all  while  making  this  motion,  but  watch 
the  lady  intently  as  she  is  folding  the  paper.  The  spectators  invaria- 
bly look  where  the  performer  looks,  if  they  look  at  all.  This  move 
has  never  yet  attracted  the  least  attention. 

The  moment  she  has  the  paper  properly  folded,  I  say,  "We  will 
now  place  it  in  the  envelope  and  seal  it."  I  open  the  envelope  with 
the  fingers  of  my  right  hand  as  if  intending  to  help  her,  then  sud- 
denly changing  my  mind  I  say,  "Or  you  just  place  it  in  the  envelope 
and  seal  it  yourself."  As  I  say  this  I  hand  her  the  unprepared  en- 
velope. She  proceeds  to  properly  seal  the  envelope,  after  which  I 
instruct  her  to  place  it  in  her  own  pocket  if  she  has  one,  and  retain 
it  until  I  shall  have  read  its  contents. 

After  reading-  this  explanation,  it  may  not  seem  to  the  reader  as 
effective  as  I  have  pictured  it.  I  can  only  say,  study  the  directions 
carefully  and  g"ive  it  a  trial,  and  you  will  soon  ])e  convinced.  There 
is  nothing  more  deceiving  than  a  good  sleight  neatly  executed,  such 
as  the  exchange  of  envelopes.  The  audience  is  not  looking  in  the 
direction  of  one's  hands  to  see  the  sleight,  but  are  keeping  their  eyes 
on  the  slip  of  paper ;  and  in  fact,  they  have  temporaril}-  forgotten 
the  very  existence  of  the  envelope,  which,  so  far,  appears  to  have^ 
performed  no  part.  They  do  not  know  what  is  coming  or  what  to 
look  for,  and  I  am  sure  my  spectators  would  afterwards  assure  one 
that  neither  the  slip  of  paper  nor  the  envelope  ever  left  the 
writer's  hand  at  all. 

THE  BURLING  HULL  IMPROVED  LETTER  TEST. 

Introductory: — The  following  is  an  improved  version  of  the  fore- 
going Letter  Test  designed  to  render  it  more  subtle,  and  by  eliminating 

16 


the  sleight  which  that  trick  requires  1  have  placed  the  effect  within 
the  power  of  the  most  unpractised  performer  to  execute  successfull5\ 
I  do  not  w^ish  to  immodestly  praise  my  own  ciintril)ution  to  this  line 
of  work  but  ask  that  the  reader  f(^llow^  the  improvements  described 
and  then  judge  of  its  superiority. 

Effect: — There  are  just  two  weak  points  in  the  Letter  Test;  first 
that  the  envelope  offered  the  writer  is  sealed,  whicli,  while  it  may 
pass  unnoticed,  would  not  escape  the  inquisitive  sceptic  in  many  cases, 
second  the  exchanging-  sleight  which  is  easy  enough  for  a  magician 
but  requires  more  personal  address  than  is  usually  possessed  by  the 
neophyte.  These  I  ha\e  by  the  means  descril)ed  hereafter  entirely 
eliminated. 

The  effect  of  this  im]:)roved  version  is  much  the  same  as  the  fore- 
going,  except  that  the  envelope  is  opened,  a  slip  of  paper  removed  from 
inside  the  envelope  (far  more  natural  than  having  envelope  sealed) 
and  the  paper  and  envelope  handed  to  sitter  with  instructions  to  w^ite 
a  short  inquiry  upon  paper.  The  sitter  should  be  instructed  that  as 
soon  as  the  question  is  written,  the  paper  must  be  turned  face  down 
upon  envelope  so  that  it  will  l)e  impossible  for  the  performer  to  see 
the  writing-  wdien  he  returns.  This  gives  an  added  excuse,  or  let  us 
say  reason,  for  the  enveh^pe  and  also  prevents  party  from  returninj^ 
the  paper  to  envelope  and  sealing-  same,  which,  wdien  performer  is 
operating  several  at  a  time,  is  quite  possible  to  happen. 

The  trick  proceeds  in  the  usual  manner,  except  that  even  the  best 
posted  magicians  who  have  watched  me  work  the  trick  l^elieved  I 
employed  some  other  princii)le  because  the  envelopes  are  plainly 
empty  and  no  exchange  sleight  was  used  at  any  point. 

Secret: — The  ])reparation  of  the  envelopes  is  entirely  different 
from  that  of  the  previous  one,  double  sided  carbon  paper  is  used 
and  the  working  is  entirely  different.  The  en\elo])es  at  hand,  the 
backs,  or  part  which  bears  the  address  ordinarily,  of  three,  must  be 
cut  away  from  the  rest  of  the  envelope  leaving"  the  sealing-  flap  attached. 

These  are  slipped  inside  three  different  envelopes  and  after  placing 
a  slip  of  carbon  paper  between  the  double  backs,  the  flap  of  the  upper 
is  moistened  and  secured  to  the  lower.  Thus  prepared  the  envelope 
IS  apparently-  empt}-,  and  inside  of  each  I  place  a  slip  of  thin  pa]')er. 
I  also  place  an  extra    slip  in  one  of  the  envelopes. 

Operation : — ^I  place  the  three  prepared  envelopes  on  to])  of 
four  unprepared  envelopes  and  I  face  these  envelopes  in  the  oppo- 
site direction  to  the  three  on  top.  The  envelope  containing-  two 
papers  is  second  from  top. 

I  open  one  of  the  envelopes  and  draw  out  a  slip  of  paper  in  such 
a  manner  that  the  inside  can  be  seen,  and  placing-  the  paper  on  back 
of  envelope,  I  place  it  in  party's  left  hand  and  a  hard  lead  pencil  in 
his  right  hand,  with  instructions  for  writing-.  I  then  remove  one  of 
the  pa])ers  from  the  envelope  which  contains  two  papers  and  place 
paper  and  envelope  in  the  hands  of  a  party  just  one  seat  removed,  or 
better  yet,  a  person  seated  just  opposite  the  aisle  in  the  same  row-.  I 
then  leave  these  parties  and  instruct  a  third  party  in  preparing-  a 
writing,  keeping  my  eye  upon  the  first  two  so  that  the  moment  thev 
turn  their  papers  over  as  instructed  I  will  know  they  have  finished. 
I  return  and  explain  that  care  must  be  taken  in  folding  papers  just 
17 


as  I  instruct.  Taking  the  first  party's  envelope,  I  remark,  "I  had  an 
extra  paper  in  one  of  these  envelopes  to  show  the  method  of  folding," 
looking  in  envelope  quickly,  then  taking  second  party's  envelope  I 
of  coarse  find  the  paper  and  remark,  "Ah,  here  it  is,  I  will  show  you 
with  this."  I  place  pile  of  envelopes  (which  has  the  two  prepared 
ones  on  top  remember)  under  my  arm  in  a  natural  manner  to  give 
my  hands  more  freedom  in  folding  paper.  After  folding  paper  I  take 
envelopes  from  under  my  arm  but  with  the  pile  reversed,  that  is  with 
the  unprepared  envelopes  on  top  and  opening  the  uppermost  envelope 
1  slip  the  blank  paper  inside  just  to  illustrate  my  instructions  for 
placing  papers  in  envelopes.  I  then  hurriedly  hand  the  two  upper 
envelopes  to  the  parties  and  hurry  off  to  my  third  party.  Thus  I 
have  exchanged  the  envelopes  in  a  manner  that  even  the  initiated 
cannot  detect  the  operation,  absolutely  no  sleights  or  "Moves,"  only 
the  most  natural  actions  followed. 

Mv  method  with  the  third  party  is  generally  shorter,  merely  tak- 
ing the  envelope  for  a  moment  to  illustrate  the  method  of  folding 
and  to  relieve  th  party  of  the  envelope.  I  rest  hand  holding  the 
envelope  on  top  of  the  pile  and  no  matter  which  way  paper  is  folded 
I  pretend  it  is  wrong  and  have  it  refolded  and  while  gesticulating  with 
hand  I  drop  the  other  hand  to  side  and  quietly  turn  packet  over,  so 
when  I  hand  party  envelope  from  top  of  packet  he  receives  an  un- 
prepared one. 

This  method  is  many  times  superior  to  any  known  test  for  down- 
right practical  results.  The  practical  performer  desires,  quick,  abso- 
lutely certain  Results  with  all  the  sleights  and  elaborations  cut  out 
and  the  practical,  certain  method  well  planned  out,  described  above 
will  be  appreciated  by  the  professional,  and  I  hope,  by  the  amateur  as 
well. 

Being  a  practical  performer,  I  require  for  my  own  work,  right-to- 
the-point  methods  with  certain  results  and  I  feel  certain  that  the  per- 
former, sufficiently  advanced  to  realize  the  amount  of  pains,  care,  and 
experiment  required  to  perfect  the  little  details  in  the  foregoing 
operation,  will  appreciate  the  value  of  this  method  in  which  the  per- 
former is  protected  from  every  doubtful  possibility. 

ADDITIONAL     HINTS. 

In  working  at  theatres  or  halls  where  the  seating  is  regular,  you 
can  work  several  sets  of  two  parties  each,  one  party  on  each  side  of 
aisle,  working  up  the  aisle,  but  they  must  be  at  distances  sufficient 
to  prevent  their  seeing  you  use  the  extra  paper  in  envelope  gag  in 
any  but  tlieir  own  case. 

Use  the  cheapest  white  business  envelopes  for  the  best  impres- 
sion and  of  course  very  hard  lead  pencil  rather  short.  Your  carbon 
copy  will  be  found  on  both  sides  of  the  back  compartment  and  in 
case  the  lower  one  is  not  clear,  the  reversed  one  can  be  read,, 
being  stronger. 

In  one  case  where  I  recognized  a  magician  of  my  acquaintance 
seated  just  behind  my  parties  I  worked  the  following  ruse,  l^eing 
at  a  banquet  (of  the  Combined  Modern  Woodman  Camps)  I  had  the 
opportunity  of  placing  a  table  between  us  while  preparing  the  third 

18 


party's  writing-  and  I  secretly  creased  one  of  the  unprepared  envelopes 
two  ways  and  replaced  it  at  the  bottom  of  packet.  Returning,  I  took 
the  envelopes  in  the  usua-1  manner  and  illustrated  the  method  of  fold- 
ing, by  folding  one  of  the  envelopes  twice  and  replacing  it  on  top,  I 
dropped  my  hand  to  my  side  reversed  packet,  then,  when  the  folding 
of  papers  was  concluded,  I  passed  out  the  creased  envelope  and  the 
one  below  it  but  of  course  it  was  the  unpre])ared  creased  enxelope 
which  was  concealed  at  bottom  and  appearing  the  same  was  never 
suspected  by  my  brother  artist.  This  offers  a  change  from  the  extra 
paper  method. 

Through  the  courtesy  of  the  publishers,  of  Mr.  Sylvester  Walters 
valuable  treatise  on  card  magic,  "The  Card  Creations,"  the  following 
advance  publications  of  the  explanation  of  the  "Improved  Cards  My- 
sterious," "Improved  Devil's  Pass,"  and  "Electra,"  has  been  permitted 
in  this  volume. 

THE     FOURTEEN     INVENTIONS     IN     SELF     FORCING 

METHODS. 

Since  the  invention  of  first  trick  employing  playing  cards  it  has 
been  a  dream  of  magicians  to  discover  or  invent  a  means  by  which 
the  performer  might  accomplish  that  operation  known  as  "forcing," 
while  the  cards  are  in  the  hands  of  the  spectators.  Needless  to  say, 
such  an  invention  surpasses  in  importance  any  accomplishment  with- 
in the  limits  of  magical  possibility,  for  with  such  a  means  at  hand,  the 
magician  can  easily  produce  the  most  weird,  startling  and  impenetra- 
ble mysteries  possible  to  conceive. 

That  such  a  feat  could  l)e  accomplished  and  that  the  invention  could 
be  made  practical,  seems  inconceivable.  Nevertheless,  its  realization 
is  now  a  fact  of  the  firmest  kind  and  exists  in  the  form  of  a  remarka- 
ble pack  of  cards  invented  by  Mr.  Burling  Hull.  It  solves  the  great- 
est problem  of  the  magician,  for  while  there  are  methods  of  discover- 
ing selected  cards,  so  ingenious  as  to  bewilder  the  most  alert  mind, 
yet  the  most  important  operation  of  all.  forcing,  knew  only  the  clum- 
siest methods  and  operations  known  to  the  whole  Art  oj  Magic  and 
which  could  only  be  accomplished  under  cover  of  misdirection  or 
when  the  spectator  was  taken  unawares.  In  the  hands  of  a  master  it 
was  even  uncertain,  and  though  it  could  be  passed  off  in  case  of  fail- 
in^e,  so  in  fact  could  any  magical  failure,  and  leaves  the  fact  that  the 
means  previously  known  to  magic  were  the  most  unsatisfactory  of 
any  in  the  Art. 

In\-entions  of  magnitude  are  ne\er  the  result  of  accident  as  were 
some  of  the  worthless  eff'orts  which  have  been  put  forth  in  the  past, 
but  the  result  of  earnest  work,  persistent  study  by  a  trained  mind 
familiar  with  every  technicality  of  the  subject  in  hand.  Mr.  Hull, 
with  his  great  collection  of  data  on  Card  Magic,  with  the  experience 
gained  bv  the  invention  of  scores  of  card  mysteries,  required  four 
and  a  half  years  of  work,  improving  and  piecing  together  the  princi- 
ples of  the  fourteen  diff'erent  methods  hereafter  described,  to  bring 
the  invention  to  its  present  state  of  perfection. 

Before  making  the  trick  public,  the  inventor  for  two  years  baffled 
over  a  hundred  of  the  keenest  magical  minds  ;  manijiulators  such  as 
Theo.  Bamberg,  who  declared  it  the  greatest  Card  Mystery  he  had 

19 


ever  seen  or  expected  to  see,  Paul  Valadon  and  W.  J.  Nixon  (at  the 
home  of  Mr.  Nixon)  Barney  Ives  and  scores  of  performing  magicians, 
as  well  as  dealers  such  as  Mr.  Martinka,  Clyde  Powers,  A.  C.  Gilbert 
and  J.  Pitre  (of  Mysto  Co.)  and  men  in  every  branch  of  magical 
pursuit.  This  trick  is  undoubtedly  the  Masterpiece  of  Mr.  Hull's 
career  as  creator  of  card  mysteries.  The  Improved  Cards  Mysteri- 
ous is  the  climax  of  magical  possibility,  no  higher  form  of  card  mys- 
tery could  be  produced.  It  represents  the  greatest  achievement  in 
the'  history  of  Card  Magic  and  is  unquestionably  the  most  valuable 
contribution  of  the  day. 

(From  the  Instruction  Sheets.) 

THE  IMPROVED  "CARDS  MYSTERIOUS" 

Copyrighted  1909,  By  Burling  Hull 

The  absolute  perfection  of  the  principle  known  to  the  magical  fra- 
ternity as  "forcing,"  has  been  conceded  to  be,  the  forcing  of  cards  from 
a  pack  which  may  be  shown  to  have  no  duplicates  and  operated  while 
actually  in  the  hands  of  the  audience.  With  this  pack,  this  dream 
of  magicians  is  now  realized.  The  introduction  of  this  pack  to  the 
world  of  magic  marks  the  dawn  of  a  new  era  in  card  magic  and  opens 
new  possibilities  in  mind-reading  and  card  effects  dependent  upon 
card  forcing. 

The  various  methods  of  using  this  pack  are  fully  described  just 
following  the  explanation,  but  an  excellent  individual  mystery  can  be 
produced  bv  previously  suspending  a  large  envelope  in  sight  of  the 
audience  or  operating  a  pair  of  the  flap  spirit  slates  and  then  allowing 
a  card  to  be  selected  from  the  pack,  the  name  of  which  is  discovered, 
upon  a  slip  of  paper  within  the  envelope  or  written  on  the  slates. 
The  most  startling,  however,  is  that  of  placing  a  pack  of  cards  in  a 
goblet  on  the  stage,  while  the  performer  allows  audience  to  select 
cards  from  another  pack  while  down  among  audience,  with  the 
result  that  a  duplicate  of  each  card  selected,  rises  from  goblet.  The 
attempt  of  spectators  to  select  a  card  to  outwit  the  performer,  is 
ludicrous  in'the  extreme  as  the  performer  seems  to  toy  with  their 
efiforts.     This  never  fails  to  bring  down  the  "House." 

PRINCIPLE: — Examination  will  reveal  that  every  other  card  is 
alike.  Still  closer  inspection  will  show  that  these  cards  are  slightly 
shorter  than  the  others. 

Effect  No.  1: — Plolding  the  pack  towards  the  spectators  in  such 
a  manner  that  they  are  enabled  to  see  the  faces  of  the  cards,  slowly 
ruffle  them  calling  attention  to  the  cards  being  all  different.  As  the 
cards  to  be  forced  are  shorter  than  the  plain  cards,  only  the  faces 
of  the  plain  cards  will  show  as  two  .cards  fall  each  time.  Ask  any 
spectator  to  put  his  finger  in  the  pack  and  draw  out  a  card  as  you 
ruffle  them.  No  matter  where  he  inserts  his  finger,  it  will  be  on  one 
of  the  forcing  cards  because  of  the  ])rinciple  that  two  cards  fall  each 
time  a  card  is  released  by  your  fingers.  You  can  show  party  the 
card  above  and  the  one  below  that  selected  by  him.  are  different,  as 
they  are  plain  cards.  As  the  pack  is  arranged  with  two  forcing  cards, 
ruffle  the  i)ack  slowly  till  you  reach  the  middle  ( the  edge  of  the  middle 
card   may   be   marked   by   l)lackening   it    witli   a   ])encil   or   the  corner 

20 


Effect  2 


creased  or  nicked,  whicli  will  appear  to  be  a  worn  card  and  makes  it 
easy  to  identify)  then  ruffle  again  not  passing-  the  center,  wdiich  forces 
card  to  be  chosen  from  lower  half  to  force  the  second  card  ruffle  quickly 
past  the  lower  half  and  bringing  pack  towards  his  finger  when  you 
ha\  e  reached  the  u])[)er  forcing  cards,  ruffling  slowly. 

Effect  No.  2: — After  showing  cards  to  be  all  different,  ask  party 
to  insert  his  penknife  in  pack  as  you  hold  it  towards  him.  As  knife 
approaches  pack,  tilt  ])ack  backwards  so  that  knife  enters  pack  at  an 
angle  which  causes  it  to  pass  over  the  short  card.  The  slightest  pos- 
sible angle  is  sufficient  to  assure  this.  This  is  unnecessary  how^ever, 
as  should  knife  pass  under  the  short  card  you  will  notice  this  as  you 
separate  pack  at  ])oint  knife  entered  and  instead  of  offering  lower  half 
to  party  to  draw  his  card  off,  turn  up  the  upper  portion  so  party  can 
see  the  bottom  card  with  the  request  to  remember  it  or  remove  and 
retain  it.  Should  the  card  selected  be  from  the  upper  half  of  pack, 
force  one  from  the  lower  by  No.  1  method  completing  the  force 
of  two  cards. 

Effect  No.  3  : — Pland  ])ack  to  party  in  audience  instructing  him  to 
cut  pack  anywheres  and  remove  a  card  at  the  point  pack  is  cut.  Xo 
matter  w^here  pack  is  cut  he  is  forced  to  cut  at  a  forcing  card  as  the 
fingers  can  only  touch  the  long  or  plain  cards  which  leaves  a  short 
or  forcing  card  on  top.  This  method  creates  the  most  marvelous 
effect  w^hen  worked  in  connection  with  the  Clock  Dial  or  Slate  Trick, 
or  as  an  individual  trick  if  i)arty  is  upon  stage  with  performer  and 
selection  of  card  is  seen  by  all. 

Effect  No.  4 : — To  prove  you  have  no  connection  with  pack,  hand 
it  to  one  of  the  spectators  instructing  him  to  "ruffle"  the  cards  and 
step  over  to  another  spectator  allowing  him  to  select  a  card.  This 
effect  also  is  a  surprise  to  the  party  in  the  first  row  who  "knows  how 

21 


f 


Arrangement  of  Cards.  Fig.  6. 

all  those  tricks  are  done"  and  is  especially  advised  for  a  quietus. 

The  n Limber  of  variations  in  method,  effect  and  purposes  to  which 
it  may  be  put,  are  limited  only  by  the  performer's  ingenuity. 

Cards  with  which  to  make  these  packs  are  obtainable  at  the 
Magical  Studio. 

THE     HOAX     OF     1909. 

Having  had  experience  with  dishonest  dealers  who  secure  sam- 
ples of  an  inventors  productions  and  then  deliberately  steal  the  idea 
outrig-ht  and  resell  it,  the  manufacturers  of  this  card  trick  prepared  a 
hoax  for  these  magical  parasites.  A  simple  and  rather  useless  trick 
was  gotten  up  with  a  name  to  resemble  that  of  the  g"enuine  trick,  and 
this  was  supplied  to  all  dealers  applying  for  samples.  Tiie  ]3arasites 
immediately  manufactured  great  quantities  of  this  trick.  AMiile  these 
dishonest  dealers  were  off  in  this  false  scent,  the  manufacturers  of  the 
original  trick  sold  thousands  of  sets  broad  cast. 

1 1  was  some  months  before  the  trick  was  learned,  then  mad  as 
hornets  these  parasites  set  about  to  purloin  the  original  trick,  but  the 
time  passed  and  few  sales  could  be  made.  This  taught  the  parasites 
a  severe  lesson  and  from  that  time  on,  none  of  ^Ir.  Hull's  productions 
ha\'e  been  pirated. 

In  some  cases  the  dealers  were  not  at  fault  as  unscrui)ulous  i^arties 
sold  the  trick  to  the  dealers  as  their  own  in\'ention. 

The  trick  is  also  sold  as  the  "Svengali  Wonder"  in  an  inferior 
form  (the  old  corner  cut  card  of  1908)  and  (juality  of  card  and 
abroad  as  the  "Master  Mystery." 

The  inventor  holds  six  copyrights  covering  all  t!ie  xariations 
from  1907  to  the  Improved  form  of  1900. 

THE     DEVIL'S     PASS     AND     IMPROVEMENTS. 

This  trick  possesses  quite  a  little  histor\'  and  as  the  first  card 
trick  Mr.  Hidl  produced,  invented  in  fact  when  a  boy  just  in  his 
"teens,"  though  even  then  competent  juvenile  entertainer,  it 
bears  particular  signihcance.  The  trick  was  first  hit  ujit^n  h\  experi- 
menting with  ]jacks  of  long  and  short  cards,  which  were  then  used 
to  a  greater  extent  than  nowadays.  The  trick  was  thc^ught  so  highly 
of  bv  Frank  Cooper,  that  it  was  carried  abrciad  by  him  and  presented 
to  the  well  known  English  manipulator,  Martin  Chapender  a  great 
friend  and  correspondent  of  the  former.  Mr.  Chapenders'  fondness 
for  the  ingenious  and  original,  induced  him  to  design  manv  tricks 
involving  the  unique  principle  and  many  of  these  tricks  are  described 
in  his  letters  to  Mr.  Coo])er  (which  are  now  in  the  collection  of  Mr. 
Hull)  and'  one  very  excellent  trick  is  described  in  his  contribution  to 
"Secrets  of  Magic"  (Goldstone). 

22 


The  trick  was  finally  marketed  by  the  inventor  and  though  it  is 
estimated  that  thousands  of  packs  have  been  sold  in  the  last  six  years, 
oddly  enough  it  is  still  quite  a  profitable  article  in  the  dealer's 
stock.  The  trick  has  been  considerably  improved  since  it  was  first 
offered  to  the  pul)lic. 


en«»  ^JIvKl; 


fcn  prove 
ment 


^'.".rvVu.,".".':.  tt'« 

Mon.»„"BBlA^__^,„^ Brooklyn.  N.  V. 

-...vemeni   has  been  made  In  tiae 

^  H.-iss.-   whi.  h   makes  It  fully  200   per 

.T^T  more  subllc  and  rfffcilve,  yet  almpPfles 

It  sn  a  child  can    work   U       It  eliminates   the 

only  point   which   required  even  the  ullghtest 

skill,    allows    more    ca^da    to    be    worked    and 

insltinldneouslv    (no   hesitation)       Effect;      Several   cards   are 

rhosen,    returned,    pack    shuffled    and    handed    to  -performer. 

who   wlihoat   coverinc  pack   for  an   Inafant,  produces  card? 

from  the  air.  pockets,  etc..  any  way  desired.     Complete.    .5c. 

What    your    friends    say  ,  ..     ,  ^ 

•Chas      BaKlev.     Catsklll.    N     T. :    -Certainly,    all    (o    the 

good"     B    G    Straub.  Fltteburc.  Pa..  "Fine  and  dandy.     The 

b«a1    Idea   1    hnve   ever    run   across    in   a    prepared    paok."      J 

Kelly.  Avon.  N.    Y.:  "Certainly  O.   K."     Chas.  Fenster.  N.  T. 

Too    cheap.      Worth    double    price.*"      Forty    simHar    ietters. 

Sold    under    the  BtronRest   guarantee   possible — "Money   back 

If   not    worth    double    the    price."      For    the    ben<-flt   of   those 

who  already   have    the   reEular    method.    th«  Improved   cards 

will    be    sent    for   2Sc    (actual   coat   of  cards).      Give   number 

o(  your  pack   In  order 


BURUfi^C  HULL 


^eiB  47'th  81. 


Broak^n,  N.  Y. 


Ticks  to  exchanfre.      I   want   flower 
■  Mh.nti^ypft     trunk. 


Reference  to  the  above  advertisements  reprodaced  from  the  Sphinx 
Magazine,  Feb.  19C8  and  a  later  date,  are  of  considerable  interest  as 
they  show  how  the  public  has  been  duped  in  the  last  two  years  by 
dealers  who  sold  and  still  sell  the  old  (unimproved)  method  of  the 
Devil's  Pass  at  a  price  ($1.00)  far  in  advance  of  the  price  at  which 
the  trick  was  sold  (as  proven  by  above  cut)  early  in  1908,  and  the 
present  price  of  the  old  form  of  the  trick  is  far  above  the  price  at 
which  the  improved  and  later  method  was  sold  in  May,  1908.  There 
should  be  a  means  of  prexenting  dealers  from  purloining  an  in\'ention 
and  selling  it  under  another  name,  as  the  purchasers  of  the  original 
article  often  buy  wdiat  they  presume  to  be  a  new  article  and  find  they 
have  paid  twice  for  the  same  article.  Invariably  one  pays  a  higher 
price  for  an  inferior  quality  article,  as  in  this  case,  when  dealing  with 
these  parasites. 

EFFECT   ONE. 

Performer  allows  a  card  to  be  selected  and  turns  his  back  while 
same  is  shown  to  spectators.  He  then  has  same  returned  to  pack 
and  making  a  pass  toward  his  pocket,  announces  the  name  of  card 
and  has  spectator  place  his  hand  in  performer's  pocket  where  the 
selected  card  is  found. 

EFFECT     TWO. 

Performer  then  has  a  second  card  selected  and  before  taking  card 
back  allows  spectator  to  tear  a  corner  off  the  card.  Taking  the  card 
he  tears  it  in  half,  giving  the  two  halves  to  two  of  the  spectators  and 
requests  them  to  tear  the  halfs  into  fragments,  while  performer  brings 
from  his  table  a  card  box  or  other  apparatus.  The  pieces  are  placed 
in  the  apparatus,  a  little  alcohol  poured  over  and  ignited.  The  ap- 
23 


paratns   is   opened   and   the   card   found   restored   with    the   exception 
of  the  missing-  corner  which  fits  exactly.  _ 

I 


Fig.  8  

Fig.  9 

Secret : — The  pack  used  is  a  special  pack  composed  of  dupli- 
cates throug;hout.  as  illustrated.  Previously,  the  trick  in  the  older  form, 
required  every  other  card  to  be  a  short  card  as  in  the  "Cards  Mys- 
terious" but  to  aA-oid  this  and  to  allow  the  cards  to  be  run  from  hand 
to  hand  in  the  popular  manner  during  selection  of  cards,  that  feature 
was  eliminated  an  dthe  reversi1)le  backs  adopted.  By  referring  to  the 
reduced  cut  of  the  playing  card  back  it  will  be  noticed  the  points 
marked  by  indicator  on  the  design,  are  different  at  one  end  from  the 
other,  so  that  if  the  card  is  reversed  it  can  be  noticed  instantly. 

Pvvery  other  card  is  reversed  throughout  the  pack.  Now  start- 
ing- with  the  pack  so  the  large  curl  in  design  is  up])ermost,  the  i^er- 
former  has  a  card  selected.  He  cuts  the  pack  just  at  the  point  where 
card  was  removed  and  places  the  upper  portion  under  the  other 
cards.  Now  glancing  at  the  top  card  he  notices  whether  the  large  or 
small  curl  of  design  is  uppermost. 

If  the  large  curl  is  in  the  upjier  left  corner,  he  knows  that  the 
card  on  the  bottom  of  the  pack  is  a  duplicate  of  the  one  selected, 
but  if  the  small  curl  shows  there,  the  dujdicate  will  be  found  on  the 
top  of  pack,  ready  to  palm  off  in  either  case,  or  proceed  with — 

EFFECT     ONE. 

The  performer  turns  pack  over  and  glances  at  the  card  which 
he  knows  to  be  a  duplicate  of  that  selected,  while  instructing  party 
to  show  card  to  audience  wdien  he  turns  his  back.  xA.s  performer 
turns  around  he  slips  duplicate  into  his  coat  pocket  of  which  he  has 
left  the  flap  turned  under  so  it  will  not  interfere.  The  selected  card 
is  returned  t(i  pack,  name  announced  by  performer  and  after  the  proj^er 
passes  for  the  effect,  the  duplicate  is  found  in  pocket,  which  as  it  is 
the  only  card  in  pocket  is  believed  to  be  the  selected  card. 

EFFECT    TWO. 

A  card  is  selected  and  the  duplicate  located  as  before  and  party  is 
asked  to  tear  a  corner  oft'  card.  Performer  watches  him  at  a  slight 
distance  and  quietly  tears  a  corresponding  corner  (either  index  cor- 
ner or  plain)  from  the  duplicate  which  he  holds.  To  give  him  time 
performer  may  walk  to  table  and  secure  a  small  envelope,  bring  it 
forward  and  have  party  place  corner  therein  to  ])re\'ent  loss.  Per- 
former now  takes  torn  card,  exhibits  the  card,  then  bringing-  it  near 
pack  makes  the  "Bottom  Change"  (  which  I  am  sure  my  readers  are 
familiar  with)  and  laying  card  crosswise  on  pack,  tears  the  duplicate 
in  half  and  hands  the  pieces  to  members  of  the  audience  to  further 
destroy.     This  duplicate,  having  the  same  face  and  the  torn  corner, 

24 


is  taken  for  the  original  as  the  exchange  is  made  so  naturally  under 
cover  of  tearing  card.  The  performer  secures  his  card  box  or  other 
apparatus  and  slips  the  card  previously  selected  in  same.  The  con- 
clusion (if  the  trick  is  too  obvious  for  further  description.  This 
method  recpiires  no  forcing  and  no  assistant  and  the  free  selection 
allowed,  the  tearing  of  the  card  in  spectators  hands,  makes  it  the 
most  puzzling  and  cleanest  of  operation  I   have  ever  presented 

In  showing  cards  they  should  be  ruffled  with  faces  toward  audi- 
ence and  they  will  appear  all  different,  as  experiment  before  a  mirror 
will  i)rove. 

N.  K. — The  old  form  of  the  Devils'  Pass  is  also  known  as  "Mene 
Tekel  Mystery""  "Lanigro  Pack"  and  "New  Era  Card  Trick."  The 
original  "Improved  Devil's  Pass"  has  never  been  sold  by  other  than 
the  inventor  and  never  previously  explained  in  ])rint. 

"ELECTRA"      (The     Trance     Cards) 
Copyright   1909  by  Burling  Hull 

This  P>rilliant  Card  Effect  is  one  which  commends  itself  highly 
to  both  the  Amateur  and  Professional  Entertainer.  To  the  Amateur 
because  of  the  many  possil)ilities  it  presents  for  mind-reading  effects. 
(indi\idually  and  in  coml)ination ) — the  fact  that  it  can  be  worked 
at  the  closest  quarters  and  under  the  most  difficult  conditions — the 
ability  to  employ  borrowed  cards — its  brilliant  and  mysterious  effect 
the  elimination  of  sleight-of-hand  and  its  extreme  subtlety,  there  being 
nothing  left  to  betray  the  secret.  To  the  Professional,  as  a  means 
of  heightening  other  effects  by  adding  it  to  the  combination,  or  intro- 
duced into  the  regular  pack  enables  him  to  discover  the  names  of  all 
cards  selected  and  returned  to  the  pack,  which  prevents  any  possi- 
bility of  mistake  and  furnishes  a  brilliant  reserve  effect,  which  may 
be  worked  in  an  emergency  or  as  opportunity  presents. 

Effect  1: — (Platform  and  Stage)  A  card  is  selected  and  returned 
to  pack,  cards  shuffled  by  audience.  Performer  counts  off  any  num- 
ber of  cards  desired  by  audience  and  hands  them  to  one  of  the  spec- 
tators. The  party  shows  each  one  to  take  audience  one  at  a  time 
while  the  performer  is  blindfolded  or  turns  his  back,  ^^'hen  the  sel- 
ected card  is  reached  the  performer  commands  him  to  stop,  and  an- 
nounces the  name  of  the  card. 

Effect  2: — (Close  and  platform  work)  Several  cards  are  selected, 
performer  places  them  back  in  pack  in  diff'erent  parts  of  the  pack  as 
audience  dictate,  he  then  names  each  card  selected,  correctly. 

Effect: — (For  close  work)  Performer  ruffles  pack,  asking  party 
to  place  finger  in  pack,  anywheres.  This  card  is  placed  on  front  of 
pack  where  all  can  see  it,  spectators  being  asked  to  remember  it. 
Pack  is  cut  bringing  card  to  centre  of  pack  so  performer  cannot  see  it 
and  pack  h?,nded  to  party  to  place  in  his  pocket.  Performer  takes 
his  hand  telling  him  to  think  of  card,  announces  the  name.  Party 
opens  pack  himself  taking  card  out  of  center  of  pack.  If  spectators 
have  a  pack  of  their  own,  performer  borrows  it  and  repeats  the  trick 
often  as  desired. 

Effect  4: — (Stage  and  parlor)  Cards  are  thoroughly  shuffled  by 
audience.  Performer  takes  pack  and  names  cards  one  at  a  time  as 
he  takes  them  from  the  top  of  the  pack,  fans  cards  out  and  removes 
cards  from  centre  and  naming  them. 

The  Principle : — The  principle  was  first  suggested  to  the  inventor 
by  the  device  employed  by  a  gambler — a  wide  gold  band  ring,  filed 
25 


flat  and  polished  on  one  side,  worn  on  middle  linger,  enabling  him 
to  catch  the  reflection  of  the  indexes  of  cards  in  dealing  etc.  By 
turning  the  flat  side  between  the  fingers  it  became  invisible.  The 
idea  was  later  introduced  in  a  ring  containing  a  small  mirror.  This 
was  a  crude  and  extremely  clumsy  apparatus,  being  always  in  way 
of  natural  movements,  preventing  the  inside  of  the  hand  from  being 
shown,  and  liable  to  detection  as  well  as  difficult  to  bring  in  angle. 
The  present  form  is  its  perfection  as  applied  to  magic.  The  device 
is  a  card  with  a  reflector  on  the  Ijack,  of  the  finest  silvered  paper 
made.  Introduced  in  any  pack  it  appears  l)Ut  an  (ordinary  card  of 
the  pack. 


1 

^E 

^■j 

^m 

f 

1 

-^Srj 

JjJ 

1 

^ 

■      ■*;      ^^^B 

k 

i 

HBil 

Effect  1  &  3 


Effect  2 


Effect  4 


No.  1 : — Place  selected  card  in  pack  getting  the  reflection  as  in 
No.  3.  Palm  ofi:  trick  card  and  hand  pack  back  to  be  shuffled.  Ruffle 
^  cards  and  note  whether  card  is  near  top  or  bottom.  Ask  how  many 
cards  shall  be  used  Several  numbers  will  be  called — select  one  near 
25.  Count  ofif  the  desired  number  face  up  and  note  what  position 
the  selected  card  (^say  the  Ace  of  Spades)  lies  from  the  end  you  count 
from  (which  should  be  the  end  the  card  is  nearest)  and  hand  pack 
to  the  spectator.  Say  the  number  is  18  from  the  top.  Proceed  as  in 
description,  having  party  hand  you  each  card  after  showing  it.  Count 
the  cards  and  wdien  the  18th  is  reached  say  "Stop  ! !  You  are  holding 
the  Ace  of  Spades  which  is  the  card  selected,"  whipping  off  blindfold. 

No.  2: — ^The  key  card  is  placed  on  the  back  of  the  pack.  Ruftle 
the  cards,  keeping  the  back  of  pack  toward  you.  As  the  cards  are 
cut  the  reflection  of  the  card  index  is  seen  on  the  silver  paper.  .  .  . 
Wlien  party  finds  his  card,  take  pack  and  cut  it  at  the  point  bringing 
card  to  back  for  repetition.  Borrow  a  pack,  place  little  finger  under 
the  key  card  and  as  you  bring  packs  together  lever  the  key  card  up 
against  the  borrowed  pack,  or  introduce  it  by  palming  it  oft"  your 
pack  and  onto  the  borrowed  one. 

No.  3 : — The  photo  explains  itself.  The  card  brought  2nd  from 
the  front  reflects  the  cards  as  you  place  them  in  the  pack  where  the 
spectators  elect. 

No.  4: — The  key  card  is  laid  on  table  face  down.  Pack  of  cards 
examined  and  shuffled  by  audience.  Performer  lays  inick  on  top  of 
key  card  while  he  rolls  up  sleeves  and  makes  address.  Picking-  up 
pack  with  key  in  front  he  holds  i^ack  in  left  hand  and  draws  back 
key  card.  As  each  card  is  removed  from  pack  the  reflection  is  seen  on 
the  key  card.  As  this  card  is  being  shown  to  spectators,  push  top  card 
back  with  thumb  so  you  can  see  the  index  reflected  etc.  etc.     To  re- 

26 


move  cards  from  centre,  fan  out  pack  after  slipping  card  to  front  of 
pack  and  as  cards  are  drawn  out  of  pack.  ])ass  them  in  front  of  reflec- 
tor as  in  photo  for  Effect  No.  3. 

]\^ote : — The  silvered  pa]:)er  used  in  this  trick  is  not  tin  foil  or 
silver  paper  such  as  generally  sold.  Neither  of  these  will  give  any 
result.  The  paper  used  is  an  imported  article  which  has  a  metalic 
coating,  and  is  highly  burnished  and  reflects  objects  like  a  mirror. 

THE     FLY     AWAY     CARD     TRICK. 

This  trick,  a  variation  of  the  well  known  German  card  trick 
found  in  the  shops  of  the  German  dealers  (a  trick  with  which  is  de- 
scribed in  "J-  N.  Hofzinser's  Card  Trick"  page  186)  is  credited  to 
Theo.  Ueland,  Jr.,  an  amateur  devotee  to  Magic  who  has  produced 
a  number  of  clever  puzzles  and  pocket  novelties.  What  the  trick 
may  lack  in  originality  it  surpasses  in  practicability  and  with  sleight 
improvements  can  be  made  a  thoroug-hly  practical  trick  ;  and  it  is  hoped 
that  this  is  evidence  that  Mr.  Deland's  future  efforts  will  be  of  much 
practical  value.  Mr.  Deland's  work  has  improved  steadily  since  he 
entered  the  legitimate  magical  field,  some  three  years  experience  in 
close  touch  with  Magic  having  ripened  his  ability,  and  I  take  pleasure 
in  bringing  this  commendable  trick  and  its  producer,  before  the  notice 
of  the  magical  public. 

Effect: — Four  court  cards  and  one  Ace  of  Spades  are  exhibited 
in  the  manner  illustrated  (Fig.  ).  The  cards  are  covered  with  a 
handkerchief  and  one  of  the  cards,  the  Ace,  removed.  The  hand- 
kerchief is  fanned  with  the  Ace ;  and  one  of  the  cards  produced  from 
the  pocket  of  the  performer.  The  remaining  cards  are  discovered  in 
various  places  and  on  raising  the  handkerchief,  the  cards  previously 
placed  there  have  vanished. 

Secret : — The  Ace  of  Spades  is  really  a  sort  of  pocket  formed  in 
the  following  manner.  The  face  and  the  back  design  being  printed 
upon  a  double  card  as  in  Fig.  — .  The  card  being  creased  in  the 
center,  A  is  folded  against  B,  and  by  means  of  the  tongue  C  is  pasted 
in  at  the  point  marked  D.  A  small  oiece  of  card  is  generally  inserted 
to  stiffen  the  whole,  between  A  and  B.  Another  card  bears  the  parts 
of  the  court  cards  which  are  merely  printed  as  if  lapped  over  one 
another. 

Operation  : — These  two  cards  are  exhibited  as  illustrated  and  ap- 
pear as  five  cards.  In  covering  with  the  handkerchief  the  upper  card 
is  pushed  into  the  pocket  card,  and  this  card  (the  Ace)  is  brought 
from  under  the  handkerchief.  The  handkerchief  is  fanned  with  this 
card  and  performer  announces  that  one  of  the  cards  have  nassed  into 
his  right  coat  pocket.  Still  holding  the  Ace,  he  places  his  hand  in 
his  pocket  and  leaving  the  prepared  Ace  therein,  brings  forth  a  dup- 
licate unnrenared  Ace  and  one  of  the  court  cards  represented  on  the 
false  card,  ^^d^ich  have  been  previously  placed  there.  The  remaining 
dunlicates  of  the  cards  believed  to  be  under  the  handkerchief  are 
now  T-iroduced  from  various  pockets,  etc.  where  thev  have  been  con- 
cealed before  hand.  The  cards  under  the  handkerchief  have  of  course 
vanished. 

IMPROVEMENTS     AND     SUGGESTIONS. 

Objections  to  the  construction  of  the  trick  brought  to  my  atten- 
tion by  my  pupils  have  encouraged  me  to  devise  means  of  perfecting 
the  above  trick  and  I  offer  the  results  of  my  efforts  below. 

One  of  the  objections  to  the  trick  (which  is  present  in  most 
27 


trick  cards  having  backs  which  do  not  match)  is  that  the  design  of 
the  backs  are  that  of  Bicycle  Cards  which  are  rarely  used  by  the 
amateur  and  ne\'er  used  by  the  professional  as  they  are  not  suited 
to  magical  manipulation.  I  have  therefore  ofifered  a  method  of  pre- 
paring the  card  so  it  can  be  made  to  match  the  style  of  cards  which 
the  reader  may  now  be  using. 

Instead  of  using  a  double  card  the  face  card  has  two  tongues 
(C.  and  C.)  which  are  folded  inward  over  a  small  piece  of  thin  card, 
and  the  back  card,  which  may  be  any  card  from  the  pack  the  reader 
is  now  using,  is  pasted  to  the  tongues  (See  Fig.  ).  The  card  is 
thus  made  to  match  the  deck  which  the  performer  uses  for  other 
tricks. 

Another  mistake  of  the  producer  which  would  have  l^een  appar- 
ent to  the  more  experienced  inventor,  is  the  use  of  the  Ace  of 
Spades  which  is  conspicuously  different  in  each  make  of  cards,  bearing 
as  it  does  the  advertisement  of  the  manufacturer.  I  have  corrected 
this  by  offering  a  face  of  the  Ace  of  Clubs  which  is  less  noticeable. 

The  false  card  representing  four  cards,  is  of  course  supplied  with 
trick,  or  may  be  made  if  it  is  desired  to  use  say  Queen  of  Spades,  Eight 
of  Diamonds.  King  of  Clubs,  and  Seven  of  Hearts,  which  I  consider 
much  more  natural  than  four  Queens.  This  may  be  done  by  cutting 
out  parts  of  the  desired  cards,  splitting  them  edgewise  and  pasting  on 
any  thin  card  which  should  then  be  trimmed  slightly  so  it  will  pass 
within  the  pocket  card.  The  cards  should  then  be  pressed  with  a 
hot  iron  till  dry  and  it  will  then  be  superior  to  the  best  printed  card. 


♦  >> 


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« 


MY    LAST    CARD    MYSTERY"    Burling    Hull 


(Formerly  known   as    the   "Ghost   Card.") 

The  Weird  and  Startling  Phenomenon,  the  last  creation  of  the  Master 
Mind  of  Mystery.  Surpassing  all  attempts  at  duplication.  The  Supreme 
Achievement  in  the  history  of  Card   Magic. 

iW^This  famous  Mystery  which  many  ambitious  card  producers  have  been 
trying  to  duiilicate  or  imitate  since  1906,  is  for  the  first  time,  made  public  (to  a 
limited   numlier  only: — 500). 


WE  POSITIVELY  GUARANTEE 

That  we  have  the  full  and  complete  method  of  the  genuine  "Ghost 
Card"  or  "Where?"  and  we  have  the  acknowledgement 
and  authorization  of  the  Inventor,  as  proof. 


An  actual  set  of  "Where?"  just  as  used. 

Combined  Mind  Reading  and  Dematerializing  Mystery  on  three  principles 
never  known  to  Card  Magic  before. 

Efifect: — Several  entirely  different  and  distinct  cards  (see  illu-tration 
of  cards  used)  are  exhibited  from  which  a  spectator  is  allowed  to  mentally 
select  one  without  giving  the  performer  the  slightest  inkling  as  to  identity  of 
the  card  selected.  Without  covering  the  cards  with  any  article,  the  selected 
card  suddenly  vanishes  as  completely  as  if  it  had  never  existed  (explaining  the 
origin   of  the  descriptive  title  "Ghost   Card"). 

iflF~The  eiTect  is  the  most  startling  and  uncanny  ever  created. 
The  principles  introduced  by  which  it  is  accomplished  are  of  an 
ingenuity   so   remarkable   as   to   appear   Diabolic. 

Note — An  additional  efifect  may  be  gained  by  allowing  the 
spectator  to  actually  remove  the  vanished  card  from  one  of 
performer's  pockets,  where  it  has  flown. 

Any  number  of  feats  suitable  for  platform  as  well  as  close 
operation  may  be  accomplished  with  the  cards  and  this  new 
system  introduced. 

IMPORTANT 
This    is    the    only    vanishing    Card    Trick    ever    produced    in 
which   the  cards  used  may  be  exhibited  separately  back  andfront. 

POINTS     TO     REMEMBER 

(1)  At  the  beginning  of  the  trick  each  card  may  be  tested  between  the  spec- 
tators to  prove  that  each  card  is  separate.  (2)  At  the  conclusion  each  card  is 
laid  upon  table  face  up.  several  inches  apart  from  each  other.  Cards  may  be 
picked  up,  backs  exhibited  and  spectator  may  feel  each  card  to  prove  that  there 
are  no  two  cards  together.  (3)  The  principles  introduced  are  unlike  any  ever 
known  to  Card  Magic  in  past. 

Discards  are  waterproof,  being  highly  finished  with  a  waterproof  coating 
after  printing.  Cards  ma}'  be  washed  when  soiled  and  will  last  forever.  Cards 
are  of  Finest  Treasury  Bristol,  cannot  crack,  may  be  bent  double  and  will  spring 
back  into  shape  as  good  as  ever.  Cards  cost  us  3K'  times  that  of  any  other 
Trick  Cards  on  the  market  to  produce. 

Complete  Set  of  beautifully  finished  cards  and  everything  required,  large  14x10 

illustrated  sheet   of   instructions    (the   most   elaborate   ever 

furnished  with  a   card   trick). 

PRICE  -  -  -     50  cents         ENGLAND       -  -  -     2/2  d 


ANNOUNCEMENT 

\S(/^  beg  to  announce  that  as  a  concession  to 
magicians  residing  outside  of  New  York- 
Mr.  Burling  Hull,  and  liis  assistants  will  con- 
tinue his  instruction  in  Mystery  Art  during  the 
Summer  months.  This  is  an  exceptional  opportunity 
for  lovers  of  magic,  to  visit  New  York  during  the 
vacation  season  and  combine  pleasure  and  profit  in 
the   pursuit  of  the   most  fascinating  of  Arts. 

Private  and  class  lessons  may  be  had  at  exception- 
ally reasonable  rates  at  this  season,  because  of  the 
large  number  that  have  taken  advantage    of  this  plan. 

Write,  letting  us  know  when  you  will  be  in  New 
York— we  shall  be  pleased  to  make  your  acquaintance. 


The    burling    HULL    STUDIO 


Brooklyn,   N  Y. 


'Phone   Connection 


Foremost  Magical  Instructor 
Inventor  and  Magical  Designer 
Entertainer  to  Society 
Magical  Literatist 


"Burling  Gilbert  Gait  Hull,  the  prominent  Magical  Creator,  was 
the  first  to  develope  a  thoroughly  practical  series  of  courses  in  Mag- 
ical Instruction  and  establish  this  work  on  a  permanent  basis. 
Hithertofore,  many  dealers  and  performers  considered  the  prospective 
pupil  an  easy  means  of  revenue,  giving  him  but  little  instruction  and 
advising  the  purchase  of  apparatus  from  which  the  "Instructor,"  re- 
ceived a  commission. 

"Mr.  Burling  Hull  has  made  a  separate  and  distinct  study  of  the 
peculiarities  of  various  shapes  of  hands  and  the  best  methods  to 
apply  to  assist  the  student.  He  recommends  special  the  departures 
of  Magic  for  which  the  pupil  is  particularly  ada])ted.  He  has  de- 
vised simple  exercises  to  relieve  cramped  palm,  rigid  joints,  etc. 

"He  has  made  a  special  study  of  what  he  terms  "Manipulative 
Art,"  or  grace  of  manual  movement,  in  Magic.  In  his  complete 
course  he  acquaints  his  pupils  with  the  principles  of  Stagecraft,  em- 
bracing the  rudiments  of   Dramatic   Art  and   Elocution. 

"Mr.  Burling  Hull  numbers  nianv  pupils  prominent  in  Social, 
Business  and  Political  Circles,  entirely  aside  from  his  students  in  the 
Theatrical  Profession.  He  instructs  more  pupils  (many  of  whom 
come  from  some  distance)  per  annum,  than  all  the  so-called  "Schools" 
combined,  and  has  practically  no  competitors  in  bonafide  Magical 
Instruction  to-day. 

"As  a  Magical  Inventor  and  Designer,  Mr.  Burling  Hull  has  de- 
signed the  features  of  several  prominent  acts  and  many  pieces  of  ap- 
paratus in  general  use  to-day — though  he  is  better  known  through  his 
Series  of  Forty  "Copyright  Card  Creations"  and  smaller  specialities, 
which  are  used  to-day  on  ever\-  continent. 

"Burling  Hull  is  known  both  in  and  out  of  Magic  as  a  literatist  of 
exceptional  ability,  but  particularly  as  a  virile  and  authoritive  magi- 
cal writer,  his  recent  works  on  Manipulation  having  attained  the 
largest  circulation  ever  known  for  writings  of  this  nature." 

The  Press. 


Burling  Hull's  Bulletin 


OF 


"Latest  Advanced  Sleights  and  Improved  Tricks" 


CONTAINING: 

The  very  latest  tricks  in  pure  Sleight-of-Hand,  improved  and  per- 
fected so  that  the  difficult  moves  are  eliminated. 


"Many  sadly  mistaken  magicians  imagine  that  any  new  move- 
ment is  a  sleight,  no  matter  how  difficult  to  execute. 

Burling  Hull  is  famous  as  an  instructor.  l)ecause  he  devises  origi- 
nal sleights  so  ingenious  that  they  are  invisible  and  deceive  the  eye, 
forming  a  perfect  optical  illusion,  and  therefore  are  not  difficult  to 
execute. 

"Any  clown  can  devise  a  difficult  trick,  but  it  takes  a 
Master  to  devise  a  trick  so  clever,  so  subtle,  so  ingenious, 
that  it  becomes  easy  to  execute."" 

PARTIAL     LIST     OF     CONTENTS. 

1.  The  Handkerchief  production  without  apparatus  or  palming. 

2.  Another  method  of  Handkerchief  production. 

3.  New  False  ShufBe  executed  by  audience. 

4.  The  Super-Supreme  Force.     Perfected    at  last ! ! 

5.  Startling  impromptu  trick  with  borrowed  cards,  easy  for 
close  work.  This  is  so  simple  to  perform  that  Mr.  Hull  teaches  it  in 
first  lesson  to  his  pupils,  yet  it  baffles  the  eye. 

6.  Burling  Hull's  Climax  Color  Change.  The  only  genuine 
chang'e  on  a  new  principle.     First  time  explained. 

7.  Wonder  Pass  (not  really  a  pass)  Cards  placed  in  center  of 
pack  and  elastic  band  placed  around  pack,  card  appears  at  any  num- 
ber called  for,  everything  operated  slowly. 

8.  Various  new  tricks  on  the  "W'onder  Pass"  principle. 


'Any  one  of  the  above  tricks  are  worth  more  than  the  price 
of  the  book. 

Handsomely  illustrated  by  many  photographs.     Ready  in  August. 
Price  50c. 

Drop  a  postal  to  your  dealer,  requesting  him  to  notily  you  soon 
as  ready.     Write  to-dav. 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

LOAN  DEPT. 

This  book  is  due  on  the  last  date  stamped  below,  or 
on  the  date  to  which  renewed. 
Renewed  books  are  subject  to  immediate  recall.           i 

FEB  llmjl 

RFCEIVED 

LOAN  DEPT. 

1 

((x4l_(-inii,    ,,                                           Berkeley                        1 

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